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Presidents Welcome

https://www.purchase.edu/about/presidents-welcome/

Purchase College is a place where creativity happens: in the studios, laboratories, theatres, and classrooms, on the playing fields and in the residence halls.

President Thomas J. SchwarzPresident Thomas J. SchwarzCommunity as Collaboration

This creativity is reflected in the output generated from the interdisciplinary nature of our academic program that seeks opportunities to link the arts to the liberal arts.

Our students are empowered by faculty, staff, and coaches to explore, test, and question in formal and informal settings. We clash and collaborate, divide and unite, but the outcome is a community where change is a commitment rather than an exception.

What’s Next for Purchase

We look forward to the opening of our new Center for Media, Film, and Theatre, the epicenter of the kind of energy and motion that defines Purchase. We are in the midst of expanding our commitment to lifelong learning with the development of our senior living community.

We hope you enjoy your time at Purchase College, whether for just a visit or for the time that you are a student.

Leadership Transition Announcement

President Schwarz has announced he will step down at the conclusion of the 2018–19 academic year.

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About Purchase College

Mission, Vision, Values

https://www.purchase.edu/about/our-campus/mission-vision-values/

Purchase College, SUNY, offers a unique education that combines programs in the liberal arts with conservatory programs in the arts in ways that emphasize inquiry, mastery of skills, and creativity. Our graduates contribute to the arts, humanities, sciences, and society. 

President Thomas J. Schwarz at CommencementPresident Thomas J. Schwarz at CommencementVision

Purchase College will be recognized nationally and internationally as the leading public institution to pair conservatory programs in the arts with liberal arts programs. We will continue to create opportunities for transformative learning and training in a community where disciplines connect, intersect, and enhance one another. 

Values

Purchase College celebrates individuality, diversity, and creativity in a community of educational excellence. 

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Nondiscrimination Policy

https://www.purchase.edu/live/blurbs/984-nondiscrimination-policy

  • Purchase College is committed to fostering a diverse community of outstanding faculty, staff and students, as well as ensuring equal educational opportunity, employment, and access to service, programs, and activities, without regard to an individual’s race, color, national origin, religion, creed, age, disability, sex, gender identity, sexual orientation, familial status, pregnancy, predisposing genetic characteristics, military status, domestic violence victim status, or criminal conviction. Employees, students, applicants, or other members of the Purchase community (including vendors, visitors, and guests) may not be subjected to harassment that is prohibited by law or treated adversely or retaliated against based upon a protected characteristic.

    Purchase complies with all applicable federal and state laws and regulations prohibiting discrimination and harassment. These laws include the Americans with Disabilities Act (ADA), Section 504 of the Rehabilitation Act of 1973, Title IX of the Education Amendments of 1972, Title VII of the Civil Rights Act of 1964 as Amended by the Equal Employment Opportunity Act of 1972, and the New York State Human Rights Law. These laws prohibit discrimination and harassment, including sexual harassment and sexual violence.

    Sexual harassment is defined as: Unwelcome sexual advances, requests for sexual favors, and other verbal or physical conduct of a sexual nature when:

    1. submission to such contact is made either explicitly or implicitly a term or condition of an individual’s employment or education
    2. submission or rejection of such conduct by an individual is used as the basis for employment or educational decisions affecting the individual
    3. such conduct has the purpose or effect of substantially interfering with an individual’s welfare, academic or work performance, or creating an intimidating, hostile, or demeaning learning or work environment

    Sexual harassment may include:

    1. subtle persistent pressure for sexual activity
    2. unnecessary touching, pinching, and/or brushing against a person
    3. sexual coercion or assault
    4. demanding sexual favors with implied or overt threats concerning work or academic decision or preferential treatment
    5. unwelcome verbal/expressive behavior of a sexual nature (e.g., jokes, sounds, obscene phone calls, demeaning graphic portrayals)
    6. stalking, cyber stalking, and failure to accept the termination of a consensual relationship with repeated overtures or other aberrant or negative behavior

    Sexual violence has been defined as “physical sexual acts perpetrated against a person’s will or where a person is incapable of giving consent,” including rape, sexual battery, and sexual coercion.

    Domestic victim status has been defined by the Human Rights Law as an individual who is a victim of an act which would constitute a family offense under N.Y. Family Court Act § 812. It is unlawful to discriminate against a domestic violence victim in hiring for a job, job advancement, requests for use of leave time, or other terms, conditions or privileges of employment. It is also unlawful for an employer to take an action in retaliation for filing a complaint of discrimination.

    On-campus inquiries or complaints regarding violations of the Nondiscrimination Policy or Title IX may be addressed to:

    Jerima DeWese
    Affirmative Action/Chief Diversity Officer and Title IX Coordinator
    Purchase College
    735 Anderson Hill Road
    Purchase, NY 10577
    (914) 251-5992
    Jerima.DeWese@purchase.edu

    Inquiries may also be directed to:

    New York Office for Civil Rights
    U.S. Department of Education
    32 Old Slip, 26th Floor
    New York, NY 10005-2500
    Tel: (646) 428-3800, Fax: (646) 428-3843
    TDD: (800) 877-8339
    OCR.NewYork@ed.gov

    updated 5/3/2018

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Additional Information


Campus Overview

Stand in the middle of campus and you’re 30 miles north of midtown Manhattan, but with nature as far as the eye can see.

Tucked away on a 500-acre former estate in Westchester County, our unique sprawling campus was designed by master architect Edward Larrabee Barnes. Almost all the buildings on the Purchase campus are the same color. Why is that? Well, there’s a historical reason and a metaphorical one.

The Story Behind the Brick

Our campus master plan relied upon several highly renowned architects to design the buildings on the Main Plaza. To unify these diverse structures and bring coherence to the campus, the architects were required to use the same shade of brick.

We like to think the consistency and order of the buildings’ facades is offset by the explosively colorful, diverse, and unconventional intellectual and artistic activity that happens inside them. Behind our uniform brick walls are classrooms, laboratories, performance spaces, and studios—those spaces where the real heart of campus can be found.

The Purchase Experience

Life here is hands-on and community-focused. We all pitch in to make Purchase a sustainable and diverse home for creative minds.

We’re DIY meets intellectualism, boundless intensity infused with an inquisitive spirit.

We’d love for you to come see us—schedule a tour and get the rundown from our Admissions Ambassadors.

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Purchase College Fact Books

The Office of Institutional Research maintains a document repository that contains information available to the public (also listed below) as well as institutional documents accessible to students, faculty, and staff with log-in credentials (sign in at top left).

We hope you find this information accessible and useful. If you have questions about any of these data, or if you did not find the information for which you are looking, please contact us.

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Your Right to Know

https://www.purchase.edu/right-to-know/

Higher Education Opportunity Information


Your Right to Know logoThe Higher Education Opportunity Act of 2008 contains numerous federal reporting and disclosure requirements for information from various administrative areas of higher education institutions. This website has been created to provide quick access to this information.

To the right are general consumer information subject areas, which provide links to references, reports, and additional details. For related information, please refer to Public Reports, which includes the college’s designated contacts for public institutional data and for the annual campus security report.

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SUNY Administration

SUNY System Administration https://system.suny.edu/

SUNY Board of Trustees

January 2019

IMPORTANT: Spring 2019 eBills should be released in early to mid-December

Jan. 1

SFS Office is CLOSED

Jan. 2

First installment of monthly payment plan due

Jan. 9

Spring 2019 eBills due

Last day to enroll in a payment plan without a late fee

Last day to withdraw from winter session 2019 classes

Jan. 18

Last Day of winter session 2019 classes

Jan. 23

Spring 2019 classes begin

As of today students are 100% liable for all fees (zero liability for tuition until Jan 30th).

Jan. 29

Last day to submit NYS Residency Applications

Last day of Add/drop period for Spring 2019

February 2019

Feb. 1

2nd installment of Monthly Payment Plan due

Feb. 6

As of today students are still 100% liable for all fees and liable for 50% of tuition.

Feb. 13

As of today students are still 100% liable for all fees and liable for 70% of tuition.

Feb. 14

 IMPORTANT: Last day to waive health insurance!

Feb. 18

President’s Day - Classes IN SESSION

Short-term Spring 2019 Registration begins (check for holds on your account)

Feb. 20

As of today students are still 100% liable for all fees and liable for 100% of tuition.

March 2019

Mar. 1

 3rd installment of Spring 2019 Monthly Payment Plan due

Mar. 11

 Spring 2019 short-term classes begin

Short-term: as of today, students are liable for 100% of fees for the short-term course(s). Zero liability for tuition until March 16th.

Mar. 13

2nd (and final)  installment of Time Payment Plan due

Mar. 15

Last day to add or drop Spring 2019 short-term classes

Mar. 16

Short-term: As of today students are still 100% liable for all fees and liable for 30% of tuition of short-term course(s).

Mar. 23

Short-term: As of today students are still 100% liable for all fees and liable for 50% of tuition of short-term course(s).

Mar. 26

Last day to withdraw from Spring 2019 full-term classes

Mar. 30

Spring Recess begins - no classes until Monday, April 8th.

SFS IS OPEN

Short-term: As of today students are still 100% liable for all fees and liable for 70% of tuition of short-term course(s).

April 2019

Apr. 1

4th installment of Monthly Payment Plan due

Apr. 6

Short-term: As of today students are still 100% liable for all fees and liable for 100% of tuition of short-term course(s).

Last day to submit Special Circumstances form for 2018-19

Apr. 7-8

 

Residence halls open up again on April 7th at 2 pm. Classes resume on Monday, April 8th

Apr. 8-12

Advising week begins for Fall 2019

Check your student account for any holds and resolve them this week!

Apr. 12

Last day to submit Summer Financial Aid Application

Apr. 15

Last day to take a Medical Leave of Absence

Apr. 15-19

Advance Registration opens for FALL 2019 - make sure you don’t have any holds or you will not be permitted to register

Apr. 22

Last day to withdraw from Spring 2019 short-term courses

May 2019

May 1

5th and final installment due on Monthly Payment Plan

Student Loan Repayment Workshop! at 12:45 PM in the LIB 1004C computer lab

May 8-14

Final Exams week

May 14

Last day of Spring 2019 semester and 2018-2019 academic year

Last day to make any changes to your financial aid for 2018-19

May 15

On-campus residents move out

May 17

47th Annual Commencement Ceremony

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SUNY Chancellor’s Cabinet

Yes, there is WiFi (wireless internet) in the Library that both guests and Purchase affiliates can use. Both are managed by CTS.   There are two WiFi networks with the following names:

PurchaseWiFi:  Students, faculty, and staff should choose the “PurchaseWiFi” network. The username is your Purchase email username (firstname.lastname WITHOUT the @purchase.edu) and the password is your Purchase email password.  You should only have to enter your username and password once to have access.

PurchaseGuest: Guests and visitors to campus should choose the “PurchaseGuest” network The password changes at least twice a year.  You can ask a library employee at the Circulation or Reference desks for the current password or go to www.purchase.edu/guestwifi.

Note that PurchaseGuest network is limited; it enables you to view webpages and use most apps, but not to use high-bandwidth services like Skype, video streaming, etc. On mobile devices, the guest network may also prevent off-campus email accounts from refreshing (such as Gmail or the Mac OS mail app). To get around this, access your email via a web browser, rather than an app or mail client.

For more info, see the Connecting to Wireless Page.

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Purchase College Leadership


Purchase College Leadership

https://www.purchase.edu/offices/president/college-leadership/

Purchase College Cabinet 

  • Dennis Craig

    Dennis Craig

    Vice President for Student Affairs and Enrollment Management
    Officer in Charge

  • Catherine Brod

    Catherine Brod

    Vice President for Institutional Advancement
    Executive Director of the Purchase College Foundation and Charitable Entities

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Academics Program Descriptions

School of Liberal Arts and Sciences

https://www.purchase.edu/academics/school-of-liberal-arts-sciences/

The School of Liberal Arts and Sciences offers a rich curriculum, with extraordinary opportunities for undergraduate research and preprofessional preparation. Students benefit from small class settings that challenge and inspire, no matter the discipline. Majors are offered in film and media studies, the humanities, and the natural and social sciences. In the first years, students have an opportunity to explore a wide range of subjects, which allows them to make informed choices about declaring a major and choosing a career path. By the time senior year arrives, the student is prepared to begin work on an original senior project, a college-wide requirement that becomes the springboard for a future career.

School of Film and Media Studies

https://www.purchase.edu/academics/school-of-film-and-media-studies/

Undergraduate Courses

Cinema Studies

https://www.purchase.edu/academics/college-catalog/?program=Cinema+Studies

Description:

An Intensive Immersion in the Art of Film

The cinema studies major offers students an opportunity for intensive study of the art of film through a broad range of courses in history and aesthetics.

  • All students begin with yearlong introductory surveys of film and modern art, then proceed to more advanced courses that focus on a wide variety of directors, national cinemas, genres, modes (narrative, documentary, avant-garde), and critical/theoretical approaches.
  • In their senior year, students explore and extend their knowledge of cultural, historical, industrial, philosophical, and artistic perspectives on the medium in their senior project.

Interdisciplinary and Rigorous

This interdisciplinary degree program is rigorous and highly selective, with official admission to the program contingent on successful completion of Introduction to Cinema Studies I and II during the freshman year and a qualifying examination in film history and aesthetics, which is given at the end of the freshman year.

Requirements:

In addition to meeting general degree requirements, all cinema studies majors must meet the following requirements (53–54 credits):

  1. CIN 1500/Introduction to Cinema Studies I (4 credits)
  2. CIN 1510/Introduction to Cinema Studies II (4 credits)
  3. One art history course (3–4 credits), chosen from the following or approved by the cinema studies program coordinator:
    ARH 1020/History of Art Survey II
    ARH 1060/Touchstones of Modern Art
    ARH 1070/The Work of Images: The Function of Art in Western Culture
    ARH 2050/Introduction to Modern Art
    ARH 2060/Art Since 1945
  4. One of the following courses (4 credits):
    CIN 2000/Close Analysis
    CIN 2240/Research Practicum: Silent Cinema
    CIN 2500/Principles of Montage
  5. Six upper-level elective courses in cinema studies* (24 credits total)
    *Learning assistantships, internships, and independent studies cannot be used to satisfy this requirement.
  6. CIN 3890/Cinema Studies Junior Seminar (4 credits)
  7. CIN 4890/Cinema Studies Senior Colloquium (2 credits)
  8. SPJ 4990/Senior Project I (4 credits)
  9. SPJ 4991/Senior Project II (4 credits)

Notes:

  1. A grade of B or higher is required in CIN 1500 and 1510.
  2. To advance to the sophomore year, students must pass a qualifying examination in film history and aesthetics, which is given at the end of the freshman year.

Faculty

  • Lecturer in Cinema Studies
    • BA, University of South Africa
    • MA, University of Witwatersrand
    • PhD, University of South Africa
  • Associate Professor of Latin American History
    • BA, University of Buenos Aires (Argentina)
    • PhD, University of Maryland
  • Associate Professor of Film and Cinema Studies
    • BA, University of Wisconsin, Madison
    • MA, University of Wisconsin, Milwaukee
    • MPhil, PhD, Yale University
  • Associate Provost for Academic Affairs
    Professor of Cinema Studies
    • BA, University of Toronto
    • MA, PhD, University of Wisconsin, Madison
  • Associate Professor of Cinema Studies
    Chair, School of Film and Media Studies
    • BA, Universidad Iberoamericana (Mexico)
    • MA, New York University
    • PhD, University of California, Los Angeles
  • Assistant Professor of Cinema Studies
    • BA, Liaoning University (China)
    • MA, Beijing Film Academy
    • PhD, University of Chicago
  • Visiting Assistant Professor of Cinema Studies

    BA,  University of Vermont
    MA, University of California, Santa Barbara
    PhD, University of California, Santa Barbara

  • Assistant Professor of Cinema Studies

    BA, Brock University, Ontario
    MA, Ryerson University and York University, Ontario
    PhD,  University of Chicago

  • Associate Professor of Cinema Studies
    • BA, Stanford University
    • MA, PhD, University of Minnesota
  • Assistant Professor of Cinema Studies
    • BA, Purchase College, SUNY
    • MFA, Hunter College, City University of New York
  • Lecturer in Media Studies
    • BA, Hunter College, City University of New York
    • MS, Brooklyn College, City University of New York
    • PhD, Ohio University

Contributing Faculty

  • Associate Professor of Practice in Screenwriting
    • BFA, Purchase College, SUNY
  • Lecturer in Screenwriting
    • BA, Purchase College, SUNY
  • Visiting Assistant Professor of Screenwriting
    • BFA, Purchase College, SUNY
  • Lecturer in Film
    • BA, Vassar College
    • MFA, Columbia University
  • Lecturer in Film
    • BA, University of Notre Dame
  • Visiting Assistant Professor of Film
    • BA, McGill University
    • MA, Norman Patterson School of International Affairs
    • JD, Columbia University
  • Assistant Professor of Screenwriting and Film
    • BA, Purchase College, SUNY
  • Associate Professor of Philosophy
    • BA, University of California, Santa Cruz
    • PhD, University of Pennsylvania
  • Professor of Literature

    BA, Yale University MA, PhD, Rutgers University

  • Associate Professor of Media Studies
    • BA, Grinnell College
    • PhD, University of Texas, Austin
  • Associate Professor of Screenwriting
    • BA, City College of New York
    • MFA, Yale School of Drama
  • Lecturer in Film
    • BFA, Purchase College, SUNY
  • Visiting Assistant Professor of Screenwriting and Film
    • BFA, Purchase College, SUNY

Courses

CIN 1030: History of Film Art

An overview of the development of film as an art and as an industry from silent to digital cinema. Students learn the stylistic, narrative and industrial developments of cinema through the analysis of classic films.

Credits: 4

Department: Cinema Studies
CIN 1500: Introduction to Cinema Studies I

An intensive study of film history with analysis of specific films that represent stages in the evolution of the formal aspects of cinematic expression. Film showings, lectures, seminars.

Credits: 4

Department: Cinema Studies
CIN 1510: Introduction to Cinema Studies II

A continuation of CIN 1500.

Credits: 4

PREREQ: CIN1500

Department: Cinema Studies
CIN 2000: Close Analysis

The techniques of filmic expression are examined through a focused, detailed analysis of cinematography, editing, lighting, mise-en-scène, and soundtrack in celebrated cinematic works from around the world. Course content is organized around the establishment or subversion of narrative, generic, and stylistic conventions through the works of one director, a particular genre, or a film movement.

Credits: 4

PREREQ: CIN1500 And CIN1510

Department: Cinema Studies
CIN 2200: Music Video and Popular Culture

Examines the history of music videos, studying their effectiveness as a sales mechanisms as well as their influence on how today’s movies, television and commercials are photographed. Students are required to shoot practice exercises throughout the semester, complete a final paper, and shoot a music video on their own for a campus band or musician. Students must have experience operating a video camera and have access to a digital editing platform or be familiar with Final Cut Pro.

Credits: 4

Department: Cinema Studies
CIN 2240: Research Practicum: Silent Cinema

The goals of this course are two-fold. First, the history of silent film through the advent of sound is explored to reveal what early cinema can teach about the present and future of visual culture. Second, students use this exploration into early cinema to improve their film research skills, from data gathering to revision.

Credits: 4

PREREQ: CIN1500 And CIN1510

Department: Cinema Studies
CIN 2500: Principles of Montage

An intensive course for cinema studies majors that combines hands-on practice with close analysis. Students explore the art of montage by analyzing the film language of great directors and by shooting and editing short video projects, with an emphasis on the major principles of montage.

Credits: 4

PREREQ: CIN1500 And CIN1510

Department: Cinema Studies
CIN 2600: Film Programming

Research and practice in film programming practices and histories. Students research historical and contemporary case studies in film programming and exhibition while engaging in their own on-campus programming. They organize film series and screenings, gaining hands-on experience with and studying diverse perspectives on programming, distribution, curating, fundraising, advertising, engaging in audience outreach, event managing, researching, and writing.

Credits: 4

Department: Cinema Studies
CIN 3000: Cinema and Revolution

Third cinema was a movement proposed by Latin American directors in the 1960s and further developed by African directors in the 1970s. It addresses important questions about independent national cinemas, colonialism, race, and identity. This course examines the movement and its global influence, with emphasis on the cinemas of Latin America, Africa, black Britain, and American minorities.

Credits: 4

PREREQ: CIN1500 And CIN1510

Department: Cinema Studies
CIN 3005: Cinema and the Archive

An intensive focus on the intersection between cinema and history. Students examine the debates around cinema’s status as historical document, surveying different approaches to the relationship between cinematic formal traditions and social history. The course emphasizes the analysis of primary sources, such as reviews, posters, magazine and newspaper articles, personal correspondence, trade publications, and blogs.

Credits: 4

PREREQ: CIN1500 And CIN1510

Department: Cinema Studies
CIN 3030: Documentary Film and Theory

Through a historical survey of documentary and ethnographic film, this course explores documentary theory, aesthetics, and ethics. Topics include early cinema, World War II propaganda, cinema verité, radical documentary, the essay film, counter-ethnographies, and contemporary mixed forms. Films by the Lumières, Flaherty, Marker, Rouch, Minh-ha, and others.

Credits: 4

PREREQ: CIN1500 And CIN1510

Department: Cinema Studies
CIN 3033: Transnational Filmmaking

Students in this course will write, shoot and edit short documentary and/or fiction films reflecting the culture and country where the films are shot. International student teams work together on locations in USA, Haiti and Africa to produce films which will be screened at cultural events and film festivals.

Credits: 1

Department: Cinema Studies
CIN 3035: Cross-Cultural Encounters in Filmmaking

Working in collaboration with students from film schools in France and Africa, students engage in preproduction via video conference on film projects they will complete together during a subsequent summer study abroad session. Students also examine contemporary cinematic trends in France and Africa, with special focus on diverse geographical settings, cultural and aesthetic histories, and conditions of production and exhibition.

Credits: 4

PREREQ: CIN1500 And CIN1510

Department: Cinema Studies
CIN 3040: Film Sound: Technique and Theory

An intense focus on sound technology, with careful attention to the way image, dialogue, music, and sound interact in both film and video. The history of sound technology and sound theory are explored by comparing sound innovations in other fields (music, radio, television) to developments in film/video. Films include The Jazz Singer, The Conversation, Pi, and Run Lola Run.

Credits: 4

PREREQ: CIN1500 And CIN1510

Department: Cinema Studies
CIN 3060: Cult Cinema

An exploration of cult films and the subculture surrounding them. What elements determine the second life of films beyond their initial phase of consumption? Do these films share certain characteristics, or does their cult status depend entirely on viewing practices? How do these subcultures police their boundaries? What reading strategies do these subcultures employ? These questions also allow students to reflect on their attachment to films.

Credits: 4

PREREQ: CIN1500 And CIN1510

Department: Cinema Studies
CIN 3070: Television Studies

Examines the state of television today, with special attention to new genres, narratives, technologies, audiences, and corporate practices, with special attention to the growth of cable networks, online sites, streaming serials, new modes of spectatorship, and new forms of fan culture.

Credits: 4

PREREQ: CIN1500 And CIN1510

Department: Cinema Studies
CIN 3075: History of American Television

A survey of the development of broadcasting and electronic media in the United States. It emphasizes the cultural and institutional history of the medium, as well as the aesthetic of televisual genres.

Credits: 4

PREREQ: CIN1500 And CIN1500

Department: Cinema Studies
CIN 3080: Mexican Cinema

A survey of the history of Mexican cinema from the early 1930s to the present. Students examine popular genres like la comedia ranchera (Mexican cowboy musical), el género cabaretil (dancehall film), and el cine de luchadores (wrestling film) as well as the work of the most prominent Mexican filmmakers (e.g., Arturo Ripstein, Jaime Humberto Hermosillo, Nicolás Echeverría, María Novaro, Guillermo del Toro).

Credits: 4

Department: Cinema Studies
CIN 3090: Cinema of the Portuguese-Speaking World

The films covered offer an opportunity to deeply analyze the formation of national identity, migration, gender and race relations, social inequalities, the rural and urban worlds, and political events that have had an impact on the contemporary societies of Portugal, Brazil, Cape Verde, Guinea-Bissau, Mozambique, and Angola.

Credits: 4

PREREQ: CIN1500 And CIN1510

Department: Cinema Studies
CIN 3130: Animation

A survey of animated filmmaking from the inception of cinema to the contemporary era.

Credits: 4

PREREQ: CIN1500 And CIN1510

Department: Cinema Studies
CIN 3140: Cinema and the City

Explores the role of cinematic representation in shaping the urban imagination. Taking both a historical and a comparative approach, students study the figuration of American, European, and non-Western cities from the silent era to the digital age. Discussions include how cinema has portrayed these metropolitan areas and their people, cultures, and public and private spaces.

Credits: 4

PREREQ: CIN1500 And CIN1510

Department: Cinema Studies
CIN 3150: Improvisation in Film

An examination of improvisation in scripts, performances, and the directorial design and production process. Students study the techniques of such filmmakers as John Cassavetes and Mike Leigh, the basics of improvisation taught by Viola Spolin and others, and theories of aleatory form; participate in improvisatory scenes; and make a film using improvisational techniques.

Credits: 4

PREREQ: CIN1500 And CIN1510

Department: Cinema Studies
CIN 3200: Film, Media, and War Machines

An advanced seminar on theories of cinematic and computational media via “the war machine.” Focus is on the relationship between cinematic and military techniques and technologies—what Virilio dubbed “the deadly harmony” between eye and weapon. Emphasis is also placed on the sociopolitics of code, the ramifications of informatic capture and the formation of coded bodies, and the rise of new machines of war and resistance.

Credits: 4

Department: Cinema Studies
CIN 3245: Latin American Cinema

Drawing from the rich cinematography of Latin America, this course focuses on the interaction between film and culture in Latin America. Students discuss and analyze films in the context of sociopolitical events and aesthetic movements, with emphasis on the cultural perspective.

Credits: 4

PREREQ: CIN1500 And CIN1510

Department: Cinema Studies
CIN 3255: Media and Migration

As people migrate across the globe, their media forms move with them—sometimes following them, documenting their movement, other times traveling with them, as traces of their home cultures. Focusing on a variety of transnational media forms, this course examines how media producers treat themes of home, nation, belonging, migration, immigration, displacement, alienation, border crossing, and mobile identities.

Credits: 4

PREREQ: (CIN1500 And CIN1510 ) Or MSA2200 Or NME2100

Department: Cinema Studies
CIN 3320: Film Authors

A detailed examination of a filmmaker’s career. Students analyze films in light of a filmmaker’s entire output while situating the artist’s creative process in relation to the industrial and historical context. The course also introduces students to the tradition of auteur criticism.

Credits: 4

PREREQ: CIN1500 And CIN1510

Department: Cinema Studies
CIN 3325: The Screenplay

Designed to foster screenwriting, beginning with creation of the script and working toward completion of a short film by the end of the term. Creative writing and cinema studies students collaborate at all stages of the process, including writing, producing, directing, and editing.

Credits: 4

PREREQ: CIN1500 And CIN1510

Department: Cinema Studies
CIN 3330: Genres of Affect

In this course, affect is considered as a form of power—the embodied capacity to affect and be affected. Students explore affective genres of visual culture, such as horror, comedy, melodrama, and pornography. The course draws on a range of theoretical perspectives on affect and emotion, emphasizing work from psychoanalysis, philosophy, feminism, and queer theory.

Credits: 4

PREREQ: CIN1500 And CIN1510

Department: Cinema Studies
CIN 3400: Contemporary Global Cinema

A study of contemporary global cinema and recent trends in cinematic style and narrative. The course focuses on non-American/non-European cinemas and co-productions and on important developments in the regional cinemas of Africa and Latin America. The final quarter examines “cinema” from a global perspective, particularly the extent to which new technology and cultural circuits have fostered techniques, styles, and narrative forms.

Credits: 4

PREREQ: CIN1500 And CIN1510

Department: Cinema Studies
CIN 3410: Contemporary Media Theory

Examines recent debates in media theory, offering critical frameworks to understand the complexities of what a “medium” is, its forms and aesthetics, how it circulates and interacts with subjects and objects, and how it culturally signifies. Critical inquiry is grounded in a range of media texts, from films to reality TV, video games, and artworks.

Credits: 4

PREREQ: CIN1500 And CIN1510

Department: Cinema Studies
CIN 3420: Contemporary European Cinema

Focuses on the changing landscape of national and regional cinemas of Europe from the 1980s to the present, including the advent of the MTV-influenced cinéma du look movement in France and the neorealist, indie-inspired filmmaking in the Balkan and former Soviet states. The contested (re)definition of what now encompasses ”European cinema” is a defining undercurrent of the course.

Credits: 4

PREREQ: CIN1500 And CIN1510

Department: Cinema Studies
CIN 3480: Methods in Film Criticism

An introduction to the history and modes of film criticism, using the films of Alfred Hitchcock or John Ford (depending on the instructor) as the focal point. The goal is to familiarize students with the diversity of critical approaches in film studies, to make them better critics, and to do so by understanding both the aesthetic qualities and social forces that have made Hitchcock (or Ford) not only one of the great film personae of the 20th century, but also a marketing device, an aesthetic, a genre, and a field of study.

Credits: 4

PREREQ: CIN1500 And CIN1510

Department: Cinema Studies
CIN 3500: Cinema in the Internet Age

Networked computing has reconfigured cultural production, distribution, textual practices, and consumption. Students investigate how cinema registers these shifts by analyzing films that address the internet and by examining the ways that computing technologies renew film’s significance. Readings cover the latest conversations in media theory, addressing such issues as photographic indexicality, database narratives, digital aesthetics, software studies, and social media.

Credits: 4

PREREQ: CIN1500 And CIN1510

Department: Cinema Studies
CIN 3513: Film, History, and Trauma

Historical trauma has characterized the 20th century. Traumatic events return in unexpected forms, haunting communities and shaping both collective memory and mourning practices. Taking a comparative approach across national cinemas, this course analyzes the historical context, style, and narratives of films that circle around the question of trauma. The course covers German, Israeli, Chilean, Japanese, Russian, and American cinemas.

Credits: 4

Department: Cinema Studies
CIN 3515: Eastern European Cinema

Major tendencies in Eastern European cinemas between World War II and the late 1980s are explored. Focusing on Polish, Hungarian, Czechoslovakian, and Yugoslav films, students examine the development of these national cinemas in the sociopolitical context of state socialism, and the flourishing of these cinematic traditions into internationally recognized movements and schools. Major thematic and stylistic preoccupations of Eastern European filmmakers are addressed through a close study of works by Polanski, Wajda, Forman, Jancso, Makavejev, Kusturica, and others.

Credits: 4

PREREQ: CIN1500 And CIN1510

Department: Cinema Studies
CIN 3533: Race and Representation: U.S. Literature and Film

Racial imagery in the U.S., from the minstrel era to the present, is examined. Students interrogate the mythologies of this imagery as depicted in U.S. literature and film; rethink key analytical categories in cinema and literary studies in light of U.S. race history (genre and spectatorship); and study the racial uses of and meanings behind certain technical innovations in U.S. literature and filmmaking.

Credits: 4

Department: Cinema Studies
CIN 3540: Queer Cinema

Emerging queer cinema is explored in its historical contexts and its relation to contemporary theories of gender, sexuality, and their intersection with race, class, and nationality. The course focuses on the “queering of the gaze,” interrogating conventional notions of representation, desire, identification, filmmaking, and spectatorship. Featured directors: Warhol, Fassbinder, Haynes, Von Trotta, Akerman, Rozema, La Bruce, Araki, Denis, Jarman.

Credits: 4

Department: Cinema Studies
CIN 3550: Francophone Cinema

An in-depth look at French-language cinema “beyond the hexagon”—that is, film and media originating from regions of the world outside of France, including Africa, the Middle East, the French Caribbean, Belgium, Switzerland, and Québec. The impact of diverse geographical settings, cultural histories, and conditions of production and exhibition are addressed, along with such factors as colonialization, hybridity, diaspora, and globalization.

Credits: 4

PREREQ: CIN1500 And CIN1510

Department: Cinema Studies
CIN 3600: Kubrick

Stanley Kubrick was one of the most original and cinematic of all film directors. His films were highly original in form, with an innovative use of the medium’s primary elements, including editing, composition, and camera movement. Most were also adaptations of classic and contemporary literature. His ability to transform an author’s literary vision into his cinematic vision was one of the keys to his genius. This course analyzes his films on their own terms and in comparison to their literary sources.

Credits: 4

PREREQ: CIN1500 And CIN1510

Department: Cinema Studies
CIN 3605: Cronenberg

An exploration of the cinema of David Cronenberg from the beginning of his career to the present.

Credits: 4

PREREQ: CIN1500 And CIN1510

Department: Cinema Studies
CIN 3705: American Film Genres

A detailed examination of the notion of film genre, and consideration of one or more classical Hollywood genres, including the western, musical, melodrama, and film noir.

Credits: 4

PREREQ: CIN1500 And CIN1510

Department: Cinema Studies
CIN 3715: The Western

In light of a resurgence of the western in film and television, this course spans the history of the genre, from the earliest silent screen versions of dime store novels to its contemporary manifestations. While paying careful attention to the western as myth, epic, and landscape art, the course also explores themes of freedom, justice, and individualism as embedded and transformed in the genre.

Credits: 4

PREREQ: CIN1500 And CIN1510

Department: Cinema Studies
CIN 3720: Film Noir

Film noir represents the intersection of theme and style that gave American films from 1941 to 1955 a new cynicism, moral ambiguity, and atmosphere of terror. This course attempts to define and explore the concept of film noir by close analysis of films like The Big Sleep, Double Indemnity, Detour, The Big Heat, The Big Combo, Somewhere in the Night, and Kiss Me Deadly.

Credits: 4

PREREQ: CIN1500 And CIN1510

Department: Cinema Studies
CIN 3730: The American Avant-Garde Film

Film and theories of the American avant-garde cinema since 1943. The approach is historical, surveying the various periods in the American avant-garde and their relation to contemporary cultural phenomena. Among the artists considered are Harry Smith, George Landow, Jonas Mekas, Ken Jacobs, Ernie Gehr, Stan Brakhage, Maya Deren, Kenneth Anger, Michael Snow, and Hollis Frampton.

Credits: 4

PREREQ: CIN1500 And CIN1510

Department: Cinema Studies
CIN 3733: Experimental Cinema

Examines the historical, cultural, and production contexts of experimental and avant-garde filmmaking. This course attempts an internationalist breadth of coverage by examining the European historical avant-gardes, the American avant-garde of the pre– and post–World War II periods, the underground and independent film movements of the 1960s, and the function of experimental cinema in shaping personal and communal identities (feminist, queer, and minorities).

Credits: 4

PREREQ: CIN1500 And CIN1510

Department: Cinema Studies
CIN 3736: The Independent Spirit in American Film

History of American independent filmmaking from the 1940s to the present. Focuses on a range of directors, including Sam Fuller, Morris Engel, John Cassavetes, and Robert Altman.

Credits: 4

PREREQ: CIN1500 And CIN1510

Department: Cinema Studies
CIN 3740: From Transformers to Trump

An examination of the political imaginary of 21st century Hollywood film. Drawing on the writings of Siegfried Kracauer, students place contemporary American cinema in a comparative historical framework in order to understand the complex ways that ideological formations (imperialism, authoritarianism, racism, neoliberalism, leftism/progressivism) are encoded within the imagery and narratives of popular film and related media.

Credits: 4

PREREQ: CIN1510

Department: Cinema Studies
CIN 3745: Meaning and Truth in Cinema

A survey of the most important developments in film theory. Early theoretical discussions were mostly guided by the need to understand and to legitimize film as a distinct art form and as a new technology of seeing. As a result of the legitimization of film as a cultural fact, film theory became more specialized and a field of its own, alongside art history, literary theory, and philosophy. This course explores how each of these fields has contributed to a deeper understanding of cinema.

Credits: 4

Department: Cinema Studies
CIN 3755: Transcendent Visions: The Spiritual on Film

Investigation of a range of filmmakers who attempt to convey the spiritual through manipulation of film form. Films by Ozu, Bresson, Dreyer, Tarkovsky, and others.

Credits: 4

PREREQ: CIN1500 And CIN1510

Department: Cinema Studies
CIN 3757: New Waves of East Asian Cinema

In this course on internationally acclaimed auteurs of East Asian cinema (Japan, China, Taiwan, Hong Kong, Korea), emphasis is placed on the concepts of “national cinema” and “new waves.” In particular, the critique of nationalism via a radicalization of both content and form in the various new waves is examined.

Credits: 4

PREREQ: CIN1500 And CIN1510

Department: Cinema Studies
CIN 3765: Topics in Classical Cinema

A key element of the classical Hollywood tradition (e.g., classical form, the auteur, the star system, or studio practices) is considered in detail.

Credits: 4

PREREQ: CIN1500 And CIN1510

Department: Cinema Studies
CIN 3783: American Cinema of the ’50s

American cinema underwent significant upheaval during the 1950s with the crumbling of the studio system, the proliferation of television, fallout from the McCarthy hearings, and the Cold War. This course examines how such directors as Minnelli, Fuller, Welles, Preminger, Sirk, and Ray responded to these extremes, with attention to the historical circumstances and formal innovations that defined the era.

Credits: 4

PREREQ: CIN1500 And CIN1510

Department: Cinema Studies
CIN 3785: Hawks and Wilder: Hollywood Auteurs

Howard Hawks and Billy Wilder—two of Hollywood’s greatest directors—made sophisticated, brilliantly crafted variations on such genres as the gangster film, comedy, western, musical, and film noir. This course examines the complex issues surrounding authorship in Hollywood film, while considering films to be artworks, social artifacts, and commercial entities shaped by genre expectations and factors beyond the control of any individual creative figure.

Credits: 4

PREREQ: CIN1500 And CIN1510

Department: Cinema Studies
CIN 3787: The New Hollywood

A study of American mainstream films of the “New Hollywood” or “New American” period of cinema, c. 1965 to the present. Students explore the evolution of American popular cinema in relation to stylistic innovation in international cinema, shifting audience demographics in the domestic market, and industrial and social change in the U.S.

Credits: 4

PREREQ: CIN1500 And CIN1510

Department: Cinema Studies
CIN 3795: Warhol in Context

Andy Warhol was the most influential visual American artist to emerge during the 1960s, redefining the practice and meaning of fine art and popular culture. Turning his studio, the Factory, into an avant-garde version of a Hollywood soundstage, Warhol created films that are astonishingly rich in pictorial and behavioral nuance. This course examines Warhol’s films and his legacy in film/video art.

Credits: 4

PREREQ: CIN1500 And CIN1510

Department: Cinema Studies
CIN 3830: Italian Cinema After Neorealism

Survey of Italian cinema of the postneorealist era, with special focus on the films of Michelangelo Antonioni and Federico Fellini.

Credits: 4

PREREQ: CIN1500 And CIN1510

Department: Cinema Studies
CIN 3835: André Bazin, Realism, and Cinema

An advanced seminar focusing on the criticism of André Bazin, a co-founder of the influential magazine Cahiers du Cinéma and prolific author (What is Cinema? Vol. 1 and 2); the cinema that he championed, including Italian neorealism; his influence on post–World War II film studies and criticism; and his current renaissance in contemporary filmmaking and criticism.

Credits: 4

PREREQ: CIN1500 And CIN1510

Department: Cinema Studies
CIN 3845: New German Cinema

Examination of the rise of New German Cinema in the 1960s and 1970s, with special attention paid to cultural, political, and aesthetic contexts. Directors studied include Alexander Kluge, Volker Schlondorff, Werner Herzog, Rainer Werner Fassbinder, and Helma Sanders-Brahms.

Credits: 4

PREREQ: CIN1510

Department: Cinema Studies
CIN 3847: Israeli and Palestinian Cinema

An examination of cinema in the Israeli and Palestinian context, from the Lumière brothers’ actualities to contemporary productions by Ari Folman, Amos Gitai, Michel Khleifi, and Elia Suleiman. What role has the medium played in articulating ethnoreligious identity, national ideology, traumatic historical experience, and conflicting territorial claims? How do Middle Eastern films challenge traditional conceptions of cinematic space and time?

Credits: 4

Department: Cinema Studies
CIN 3855: French Cinema

The French refer to filmmaking as the seventh art, i.e., an art form on the level of other fine arts. This course examines French cinema from the silent era to 1970, with special focus on poetic realism and the French New Wave. Films by Vigo, Carné, Renoir, Melville, Truffaut, Godard, Rivette, Rohmer, Resnais, Marker, Varda, and others.

Credits: 4

PREREQ: CIN1500 And CIN1510

Department: Cinema Studies
CIN 3857: Contemporary French Cinema

The profile of what people think of as “French” cinema has undergone considerable change from the turbulent post-1968 period to the present. This course focuses on major developments in contemporary French cinema from the vantage points of aesthetics, industry, and culture. The role of government subsidies, large European co-productions, and shifts in cultural attention from high-art auteurs (individual authors) to the banlieue (suburb) are studied closely.

Credits: 4

PREREQ: CIN1500 And CIN1510

Department: Cinema Studies
CIN 3870: Melodrama

Melodrama is both a historical genre and a mode of imagination that operates across media. To bridge these two aspects of melodrama, the course examines its theatrical origins, the film genres that employ its rhetorical devices (the woman’s film, action and disaster films, horror), and its further development in television series and soap operas.

Credits: 4

PREREQ: CIN1500 And CIN1510

Department: Cinema Studies
CIN 3875: Environmental Media

An examination of how environments are represented across media forms and how they mediate cultural practices. Media forms include landscape painting, nature photography, art installations, music, nature writing, science fiction writing, and eco-cinema. Cultural practices include romantic, philosophical, and aesthetic traditions; indigeneities, nationalism, environmentalism, warfare, eco-mafias; and the arts and sciences of biomedia.

Credits: 4

PREREQ: (CIN1500 And CIN1510 ) Or MSA1050 Or ANT1500

Department: Cinema Studies
CIN 3890: Cinema Studies Junior Seminar

A survey of the most important developments in film theory. The goal is to familiarize students with the diversity of critical approaches in film studies and increase understanding of both the aesthetic qualities and social forces at work. Topics include the relationship of film to other forms of media and alternative or counter-hegemonic conceptions of cinema.

Credits: 4

PREREQ: CIN1500 And CIN1510

Department: Cinema Studies
CIN 4210: Theory and Praxis: Welles and Resnais

In this advanced seminar comparing the directors Welles and Resnais, their entire oeuvres and their engagement with contemporary theories and philosophies are addressed.

Credits: 4

PREREQ: CIN1500 And CIN1510

Department: Cinema Studies
CIN 4220: Science Fiction in Film, Literature, and Art

Science fiction is addressed as an expanded field of inquiry into bodies, machines, science, and technology. The course focuses on narratives about metropolis, colony, utopia, and other technologies of state, self, gender, race, and capital. It also focuses on various figures (e.g., automaton, android, cyborg, avatar, alien) that have populated films from the birth of cinema to the present.

Credits: 4

PREREQ: CIN1500 And CIN1510

Department: Cinema Studies
CIN 4890: Senior Colloquium

Prepares cinema studies majors for the conception and writing of their senior project. The course emphasizes research skills, the formulation of a prospectus and a literature review, the development of a bibliography and a filmography, and the outline of a schedule for completion of the project.

Credits: 2

PREREQ: CIN1500 And CIN1510

Department: Cinema Studies
FLM 1050: Introduction to Digital Filmmaking

An introduction to the craft of digital filmmaking: cinematography, lighting, staging, sound mixing, and editing. Students work in groups on short exercises to develop their skills and collaborate on a final short film.

Credits: 3

Department: Cinema Studies
FLM 3025: Documentary Filmmaking I

In this introduction to the basics of documentary filmmaking, students learn what it means to construct a visual argument, with attention to process, place, documentary ethics, and good interviewing techniques. Production is complemented by screenings, class discussions, and demonstrations.

Credits: 3

PREREQ: FLM1050 Or CMS1400

Department: Cinema Studies
FLM 3026: Documentary Filmmaking II

In this continuation of Documentary Filmmaking, students design, research, and produce their own documentary film. Screenings, class discussions, and group critique complement the production of the film.

Credits: 3

PREREQ: FLM3025 Or CIN3320

Department: Cinema Studies
FLM 3050: Directing the Scene I

An intensive production-oriented course designed to familiarize students with the fundamentals of storytelling in narrative film. The course covers dramatic and stylistic elements of filmmaking. Students direct and edit three short films during the semester, each assignment demonstrating specific principles covered in class.

Credits: 3

PREREQ: FLM1050 Or CMS1400 Or COM1400

Department: Cinema Studies
FLM 3051: Directing the Scene II

Students closely analyze the construction and purpose of a short sequence in the context of the overall story. This course examines the various emotional and intellectual levels layered within a scene that can and do impact the audience. Students write, direct, and edit a short film during the semester.

Credits: 3

PREREQ: CIN1100 Or FLM3050

Department: Cinema Studies
HIS 3145: Chinese Cinema and History

An overview of the development and tradition of Chinese cinema through representative screenings of important films from mainland China, Hong Kong, and Taiwan. Students gain a comprehensive understanding of the historical and political context(s) that informed the creation and reception of these films and learn critical scholarly terminology and historical issues related to the analysis of Chinese film.

Credits: 4

Department: Cinema Studies
HIS 3345: Classic Hollywood, Early America

Students explore the underlying historical narratives of films from 1930 to 1960 that address topics from early America. These narratives are compared to the ways Hollywood recast historical lessons to suit modern circumstances and to promote “American values” challenged by economic depression and the rise of fascism and communism. Special emphasis is on the works of Ford and Capra.

Credits: 4

Department: Cinema Studies
LIT 3025: Women and Film

Considers the intersections of sexual difference and cinema. Topics include theories of enunciation and sexual difference, female authorship and the idea of “women’s cinema,” gender and genre, woman as spectacle, the female spectator, and feminist film theory. Representations of sexual difference in films by selected male directors are studied as a means of examining the institution(s) of cinematic expression. The bulk of the course is devoted to studying women directors as they attempt to work within and against that institution.

Credits: 4

Department: Cinema Studies
LIT 3680: Surrealism and Its Legacy

Surrealist literature, films, and art in France, Spain, and Latin America. Artists include Aragon, Breton, Buñuel, Césaire, Char, Dali, Eluard, and Lorca. Works are read in translation and lectures given in English; students with French and/or Spanish are encouraged to read in the original language.

Credits: 4

Department: Cinema Studies
MSA 3020: Reality TV

In 1991, The Real World pioneered a genre of “unscripted” television that reshaped national media culture, culminating in the reality of the 2016 election. Students study theories of Hall, Habermas and Gramsci to explore how the genre reflects and shapes attitudes of U.S. audiences to surveillance, class conflict, and the performance of truths. Examples include Jersey Shore and American Idol.

Credits: 4

PREREQ: CIN1500 Or MSA1050 Or NME1050

Department: Cinema Studies
NME 3010: Cross-Cultural Video Production

Students collaborate with students in other cultures, using the Internet to produce videos on subjects of mutual interest. Because the focus is on developing a cross-cultural dialogue, basic video production experience is expected. Before moving to video, the two groups collaboratively write fiction. During the semester, they meet in video conferences with their peers abroad to discuss their productions. Previous semesters have included collaborations with students at universities in Belarus, Turkey, Mexico, Germany, and Lithuania.

Credits: 4

Department: Cinema Studies
PHI 2835: Happiness: Philosophy, Film, Literature

An interdisciplinary examination of the subject of happiness, using a variety of ancient and modern literary and philosophical works as well as films. Students analyze the texts and films for their specific content but also for a deepened sense of the possible relationships between visual and discursive representations of narratives.

Credits: 4

Department: Cinema Studies
PHI 3275: Light and Truth: Film, Photography, and Reality

Do photographic images have privileged access to truth? This course explores the complicated relationship between truth and visual (particularly filmic) images. It begins with Plato on the “fakery” that is painting, turns to 17th-century “faithfulness” and “sincerity” in still-life painting and scientific drawing, and looks in depth at 20th-century writings about the nature of photography and realism in representation.

Credits: 4

Department: Cinema Studies
PHI 3716: Philosophy and Film

A critical examination of influential attempts to understand the nature of the cinematic medium. Questions raised include: Is film a fine art? Must a movie “represent reality” if it is to succeed as a movie? Are there certain insights into human experience that are better expressed through film than through other media? Readings include Siegfried Kracauer, André Bazin, and Stanley Cavell.

Credits: 4

PREREQ: (CIN1500 And CIN1510 ) Or PHI1515 Or PHI2110 Or PHI3212

Department: Cinema Studies
SPA 3211: Spanish and Latin American Cinema

Drawing from the rich cinematography of Spain and Latin America, this course focuses on the interaction between film and culture in Latin America. Films are discussed and analyzed in the context of sociopolitical events and aesthetic movements, with emphasis on the cultural perspective.

Credits: 4

Department: Cinema Studies

Film

https://www.purchase.edu/academics/college-catalog/?program=Film

Description:

The film program provides highly motivated and talented students with intensive training in all aspects of filmmaking.

Students develop significant skills in directing, cinematography, editing, production, scriptwriting, and film analysis. By the end of the sophomore year, students consult with the film faculty and choose to focus on either fiction, documentary, or experimental film in their junior year.

The primary emphasis of the BFA program is on directing. At the end of the junior year, however, film majors who have demonstrated exceptional talent in cinematography or screenwriting have the option of specializing in those areas, subject to approval by the board of study. The board’s decision is based on demonstration of the student’s technical and artistic proficiency.

Facilities

Film majors enjoy a high equipment-to-student ratio and have access to a fully equipped sound stage, mix studio, equipment store, screening rooms, and digital editing studios.

About Our Alumni

More than 85 percent of film program alumni have found work in the film and television industries. These are just a few of our representative alumni: Jessica Brunetto, Ilya Chaiken, Austin Chick, Rocco Caruso, Bob Gosse, Nick Gomez, Brandon Harris, Hal Hartley, Azazel Jacobs, Lesli Klainberg, Dani Michaeli, Whitney Ransick, Jimmie Joe Roche, Jeffrey Schwarz, James Spione, Chris Wedge, and Julia Wrona.

Requirements:

In addition to meeting general degree requirements, all film majors must complete the following requirements (103–105 credits, outlined below by year) and maintain the board-of-study standards for academic and professional conduct.

Requirements for the major include:

  1. A minimum of 24 credits in film history, criticism, and/or theory: CIN 1500 and 1510 plus four additional courses
  2. Satisfactory completion, as determined by the Film Board of Study, of the 16-credit senior thesis film

Note: Criteria for advancement also include the student’s fitness and potential for a professional life in the field, as determined by the board of study. Advancement each year is by invitation of the board of study following a scheduled, mandatory review of each student’s work. Any student on warning or probationary status is reviewed at the end of the semester (fall or spring). There is an ongoing assessment of professional growth in all work for all students.

Freshman year | Sophomore year | Junior year | Senior year

 Freshman Year: 31 credits

FLM 1090 and 1100/Exercises in Storytelling* 6 credits
FLM 1160 and 1170/Film Workshop* 10 credits
FLM 1250/Filmmakers Acting Workshop 2 credits
CIN 1500 and 1510/Introduction to Cinema Studies I and II 8 credits
FLM 2010/Film Editing I 3 credits
FLM 2090/Cinematography I 2 credits
*Part One and Two (two-semester course)
Note: CIN 1500 and 1510 are prerequisites for most film history courses.

 Sophomore Year: 27 credits

FLM 2000 and 2050/Introduction to Documentary: Nonfiction Film* 10 credits
FLM 2020/Film Editing II 3 credits
FLM 2100/Cinematography II 2 credits
FLM 2310 and 2320/Directors’ Scene Workshop* 6 credits
FLM 2810/Writing for Film I 2 credits
CIN —/Film history elective 4 credits
*Part One and Two (two-semester course)

 Junior Year: 23–25 credits

One of the following two-semester courses: 6–8 credits
   FLM 3200 and 3210/Film Directors’ Workshop* (8 credits) or
   FLM 3460 and 3470/Documentary Workshop I and II (8 credits) or
   FLM 3610 and 3620/Experimental Workshop* (6 credits)
FLM 3090/Cinematography III 2 credits
FLM 3250/Directing the Actor 2 credits
FLM 3320/Screenwriting 3 credits
FLM 3810/Writing for Film II 2 credits
CIN —/Two electives in film history, criticism, and/or theory 8 credits
*Part One and Two (two-semester course)

 Senior Year: 22 credits

FLM 3725/The Business of Film 2 credits
FLM 4180 and 4190/Senior Production: Filmmaking* 16 credits
CIN —/One elective in film history, criticism, and/or theory 4 credits
*Part One and Two (two-semester course)

Faculty

  • Lecturer in Film
    • BFA, New York University
  • Lecturer in Film
    • BFA, Purchase College, SUNY
  • Lecturer in Film

    BFA, Purchase College

  • Lecturer in Film
    • BFA, Purchase College, SUNY
  • Assistant Professor of Film
    • BFA, Purchase College, SUNY
    • EdM, Harvard Graduate School of Education
  • Lecturer in Acting
    • BFA, New York University
  • Assistant Professor of Film
    • BFA, Purchase College, SUNY
  • Lecturer in Film
    • BA, University of Notre Dame
  • Visiting Assistant Professor of Film
    • BA, McGill University
    • MA, Norman Patterson School of International Affairs
    • JD, Columbia University
  • Assistant Professor of Screenwriting and Film
    • BA, Purchase College, SUNY
  • Lecturer in Film

    BFA Purchase College, SUNY
    MA, PhD, University of Rochester
    PhD Candidate, University of Rochester

  • Professor of Film
    • BFA, Purchase College, SUNY
    • MA, New York University
  • Lecturer in Film
    • BFA, Purchase College, SUNY
    • MFA, Columbia University
  • Lecturer in Film
    • BFA, Purchase College, SUNY
  • Assistant Professor of Film

    BA, Harvard College
    MFA, New York University

  • Lecturer in Film
    Media Manager
    • BFA, Purchase College, SUNY
  • Lecturer in Film
    • BA, Vassar College
    • MFA, Columbia University
  • Lecturer in Film
    • BFA, Purchase College, SUNY
  • Visiting Assistant Professor of Screenwriting and Film
    • BFA, Purchase College, SUNY

Contributing Faculty

  • Lecturer in Acting
    • BA, Marymount Manhattan College
  • Lecturer in Acting
    • BFA, New York University
  • Associate Provost for Academic Affairs
    Professor of Cinema Studies
    • BA, University of Toronto
    • MA, PhD, University of Wisconsin, Madison
  • Associate Professor of Cinema Studies
    Chair, School of Film and Media Studies
    • BA, Universidad Iberoamericana (Mexico)
    • MA, New York University
    • PhD, University of California, Los Angeles
  • Associate Professor of Film and Cinema Studies
    • BA, University of Wisconsin, Madison
    • MA, University of Wisconsin, Milwaukee
    • MPhil, PhD, Yale University
  • Associate Professor of Cinema Studies
    • BA, Stanford University
    • MA, PhD, University of Minnesota
  • Assistant Professor of Cinema Studies
    • BA, Purchase College, SUNY
    • MFA, Hunter College, City University of New York
  • Assistant Professor of Cinema Studies
    • BA, Liaoning University (China)
    • MA, Beijing Film Academy
    • PhD, University of Chicago

Courses

FLM 1050: Introduction to Digital Filmmaking

An introduction to the craft of digital filmmaking: cinematography, lighting, staging, sound mixing, and editing. Students work in groups on short exercises to develop their skills and collaborate on a final short film.

Credits: 3

Department: Film
FLM 1090: Exercises in Storytelling

A series of weekly exercises to develop the student’s ability to write short stories. The problems of exposition, characterization, conflict, and action are discussed and studied. Limited to freshman film majors.

Credits: 3

Department: Film
FLM 1100: Exercises in Storytelling

A series of weekly exercises to develop the student’s ability to write short stories. The problems of exposition, characterization, conflict, and action are discussed and studied. Limited to freshman film majors.

Credits: 3

Department: Film
FLM 1160: Film Workshop

Introduces the possibilities of film technique. Short projects in motion picture cinematography, lighting, sound recording, and continuity editing, augmented by lectures, demonstrations, film analysis, and readings. In the spring, systems of cinematic structure and form are emphasized.

Credits: 5

Department: Film
FLM 1170: Film Workshop

Introduces the possibilities of film technique. Short projects in motion picture cinematography, lighting, sound recording, and continuity editing, augmented by lectures, demonstrations, film analysis, and readings. In the spring, systems of cinematic structure and form are emphasized.

Credits: 5

Department: Film
FLM 1250: Filmmakers Acting Workshop

An introduction to the role of the actor in filmmaking situations. Freshman film students engage in actual acting training to learn how actors and filmmakers can best interact and to experience how best to understand the acting process.

Credits: 2

Department: Film
FLM 2000: Introduction to Documentary: Nonfiction Film

Practical aspects of documentary filmmaking. Students produce four to five short films each term (including describing a process, a place, an interview, and a film portrait). Production is complemented by screenings, class discussions, and demonstrations.

Credits: 5

Department: Film
FLM 2010: Film Editing I

Students learn the fundamentals of film language through editing and are provided with professionally produced picture and sound rushes that they sync-up, structure, and edit into a complete film. Additional individual and group projects are assigned.

Credits: 3

Department: Film
FLM 2020: Film Editing II

Students learn the fundamentals of film language through editing and are provided with professionally produced picture and sound rushes that they sync-up, structure, and edit into a complete film. Additional individual and group projects are assigned.

Credits: 3

Department: Film
FLM 2050: Introduction to Documentary: Nonfiction Film

Practical aspects of documentary filmmaking. Students produce four to five short films each term (including describing a process, a place, an interview, and a film portrait). Production is complemented by screenings, class discussions, and demonstrations.

Credits: 5

Department: Film
FLM 2090: Cinematography I

Basics of photography, camera operation, crew organization, picture composition, and lighting.

Credits: 2

Department: Film
FLM 2100: Cinematography II

Camera movement, angles and blocking, studio lighting procedures, and introduction to gaffing and electrics.

Credits: 2

PREREQ: FLM2090 Or TFI2090

Department: Film
FLM 2310: Directors’ Scene Workshop

In this introduction to directing narrative film, students produce scenes from their own original and previously produced scripts. They chose materials and cast, direct, and edit four to five short narrative films each term.

Credits: 3

Department: Film
FLM 2810: Writing for Film I

The techniques of writing for the screen in both the narrative and documentary forms. Emphasis on the construction of dramatic material without the use of spoken dialogue leads to a better understanding of the power and importance of visual imagery as a prime component in storytelling, and to a heightened awareness of the camera’s role in the writing process.

Credits: 3

Department: Film
FLM 3025: Documentary Filmmaking I

In this introduction to the basics of documentary filmmaking, students learn what it means to construct a visual argument, with attention to process, place, documentary ethics, and good interviewing techniques. Production is complemented by screenings, class discussions, and demonstrations.

Credits: 3

PREREQ: FLM1050 Or CMS1400

Department: Film
FLM 3026: Documentary Filmmaking II

In this continuation of Documentary Filmmaking, students design, research, and produce their own documentary film. Screenings, class discussions, and group critique complement the production of the film.

Credits: 3

PREREQ: FLM3025 Or CIN3320

Department: Film
FLM 3050: Directing the Scene I

An intensive production-oriented course designed to familiarize students with the fundamentals of storytelling in narrative film. The course covers dramatic and stylistic elements of filmmaking. Students direct and edit three short films during the semester, each assignment demonstrating specific principles covered in class.

Credits: 3

PREREQ: FLM1050 Or CMS1400 Or COM1400

Department: Film
FLM 3051: Directing the Scene II

Students closely analyze the construction and purpose of a short sequence in the context of the overall story. This course examines the various emotional and intellectual levels layered within a scene that can and do impact the audience. Students write, direct, and edit a short film during the semester.

Credits: 3

PREREQ: CIN1100 Or FLM3050

Department: Film
FLM 3090: Cinematography III

Individual projects in advanced cinematography.

Credits: 2

Department: Film
FLM 3110: Cinematography IV

Advanced techniques in cinematography and lighting, with group and individual projects.

Credits: 3

PREREQ: FLM3090 Or TFI3090

Department: Film
FLM 3200: Film Directors’ Workshop

An advanced two-semester course designed to explore the technique, practice, and theory of motion picture directing. Exercises in mise-en-scène, screenwriting, and fiction filmmaking. Students must write, cast, and direct a complete narrative short film for presentation at the end of the spring term.

Credits: 4

Department: Film
FLM 3210: Film Directors’ Workshop

An advanced two-semester course designed to explore the technique, practice, and theory of motion picture directing. Exercises in mise-en-scène, screenwriting, and fiction filmmaking. Students must write, cast, and direct a complete narrative short film for presentation at the end of the spring term.

Credits: 4

Department: Film
FLM 3250: Directing the Actor

Examines the role of the director in casting the right actor, and aiding actors in creating character and performances through rehearsal, discussion, improvisation, and on-set techniques. Students study directing, learning techniques of acting and what actors need from the director in terms of preparation and performance.

Credits: 2

Department: Film
FLM 3320: Screenwriting

A practical course in the writing of screenplays. A preliminary screenplay for the senior thesis film must be completed by the end of the semester.

Credits: 3

Department: Film
FLM 3460: Documentary Workshop I

An intermediate-level course in the practice of documentary filmmaking. A series of exercises in 16mm and video documentary production are complemented by screenings, class discussions, group projects, and demonstrations. Students research, design, and complete a documentary film.

Credits: 4

Department: Film
FLM 3470: Documentary Workshop II

An intermediate-level course in the practice of documentary filmmaking. A series of exercises in 16mm and video documentary production are complemented by screenings, class discussions, group projects, and demonstrations. Students research, design, and complete a documentary film.

Credits: 4

Department: Film
FLM 3610: Experimental Workshop

Students conceptualize and produce experimental media projects using techniques and concepts of avant-garde filmmaking, video art, and performance art. Nontraditional and personal forms are emphasized. Construction of a DVD anthology and off-campus excursions are also required. Both FLM 3610 (fall) and 3620 (spring) are required for film students planning an experimental thesis project for junior review.

Credits: 3

Department: Film
FLM 3620: Experimental Workshop

Students conceptualize and produce experimental media projects using techniques and concepts of avant-garde filmmaking, video art, and performance art. Nontraditional and personal forms are emphasized. Construction of a DVD anthology and off-campus excursions are also required. Both FLM 3610 (fall) and 3620 (spring) are required for film students planning an experimental thesis project for junior review.

Credits: 3

Department: Film
FLM 3650: Advanced Sound

Committed to using sound tracks as fully as the image track, this course implements theory by teaching choice and placement of microphones, dialogue track prep, music editing, use of sound FX and tone, and prepping for a professional sound mix. Students visit with a professional sound editor and attend foley, dubbing, and mix studio demonstrations.

Credits: 3

Department: Film
FLM 3655: Advanced Picture Editing

Strategies for the structuring and pacing of films, taught through the editing of specific film projects.

Credits: 3

Department: Film
FLM 3725: The Business of Film

Prepares students for entry into the film industry. Covers basic techniques used to raise money for, produce, and distribute films.

Credits: 2

Department: Film
FLM 3810: Writing for Film II

Construction and writing of screenplays, with exercises in characterization, plotting, etc. Story treatments for both fiction and documentary films are stressed.

Credits: 2

Department: Film
FLM 4010: Short Film Production

An intensive, one-semester workshop course in which students write, produce and direct a short documentary or narrative film. Production proceeds only after faculty approval of the screenplay, casting, and production schedules. Students assist in the production of one fellow classmate’s film. Projects developed for this course may be used in conjunction with senior theses requirements of other majors.

Credits: 3

PREREQ: (FLM3050 And FLM3025 ) Or (FLM3610 And FLM3620 )

Department: Film
FLM 4460: Advanced Projects in Documentary

Students work under faculty supervision in the field on student-generated documentary productions.

Credits: 2

Department: Film

Media Studies

https://www.purchase.edu/academics/college-catalog/?program=Media+Studies

Description:

In the media studies program, students learn how to combine cultural theory, critical cultural production, and do-it-yourself (DIY) aesthetics to explore the roles that media technologies and the arts play in everyday life.

Creative practices are approached historically and ethnographically, and considered within their rich cultural, geographic, and political economic contexts. This includes students’ own low-cost, open-ended, and tactical DIY productions, such as mashup advertisements, sound installations, and performance art—practices of experimentation, protest, and speculation that engage contemporary social concerns.

Requirements:

In addition to meeting general degree requirements, students majoring in media studies must complete a minimum of 10–11 courses with a grade of C or higher and an 8-credit senior project (40 credits minimum total) as follows:

  1. MSA 1050/Introduction to Media Studies (3 credits)
  2. MSA 2200/Media Institutions and Forms (3 credits)
  3. MSA 3400/Critical Perspectives on Media, Society, and the Arts (4 credits)
  4. MSA 3450/Research Methods in Media, Society, and the Arts (4 credits)
  5. Three electives (at least 9 credits total)
  6. One course in art history (visual or performing) or media history (at least 3 credits)
  7. Two or three courses in studio art and/or media production (at least 6 credits total)
  8. SPJ 4990/Senior Project I (4 credits)
  9. SPJ 4991/Senior Project II (4 credits)
Examples of Elective Courses
New courses may be added to the following lists. Students should consult their advisor to determine whether a course not on these lists fulfills the elective requirement.
 
Anthropology (School of Natural & Social Sciences):
ANT 2175/Language, Culture, and Society
ANT 2250/Film and Anthropology
ANT 2320/Performing Arts in Cross-Cultural Perspective
ANT 2340/Drugs, Bodies, Design
ANT 2470/Museum Anthropology
ANT 2555/Magic, Witchcraft, and Modernity
ANT 2610/Introduction to Ethnomusicology
ANT 2730/New Black Ethnographies
ANT 3185/Global Media, Local Cultures
ANT 3345/Media and Performance in Africa
ANT 3350/Myth, Ritual, and Performance
ANT 3380/Avant-Garde Cultures and Everyday Life
ANT 3410/Anthropology of Art and Aesthetics
ANT 3415/Anthropology of Sound and Listening
ANT 3540/Sensing and Knowing in Anthropology, Psychology, and the Arts
Cinema Studies:
CIN 3000/Cinema and Revolution
CIN 3030/Documentary Film and Theory
CIN 3060/Cult Cinema
CIN 3070/Television Studies
CIN 3200/Film, Media, and War Machines
CIN 3330/Genres of Affect
CIN 3500/Cinema in the Internet Age
CIN 3540/Queer Cinema
Media Studies:
MSA 2210/Transhumanist Media (added Spring 2018)
MSA 2235/Computers and Culture
MSA 2450/Sounds of Protest
MSA 3150/Outsider Art
MSA 3160/Queer Media Convergence
MSA 3350/The Body: Medium and Message
MSA 4110/Lively Geographies
MSA 4160/Material Cultures
MSA 4750/Special Topics in Media, Society, and the Arts
Literature (School of Humanities):
LIT 2195/Italian American Literature and Popular Culture
New Media:
NME 2250/Art and Technology
NME 3010/Cross-Cultural Video Production
NME 3040/Internet as Public Art
Philosophy (School of Humanities):
PHI 2780/Philosophy of Art: From Plato to Postmodernism
PHI 3275/Light and Truth: Film, Photography, and Reality
PHI 3610/Frankfurt School Critical Theory
PHI 3716/Philosophy and Film
PHI 3785/Art and Morality
Sociology (School of Natural and Social Sciences):
SOC 2105/Art and Outsiderness
SOC 3005/Feminism, Art, and Performance
Theatre and Performance (Conservatory of Theatre Arts):
THP 3120/Gameplay and Performance
THP 3130/Transmedia and Performance
THP 3250/Theories of Drama and Performance

Updates to the 2016–18 Purchase College Catalog:

Effective Fall 2017:

  • Program name changed (formerly media, society, and the arts)

Discontinued electives:

  • MSA 3120/Riot Grrls and Radical Women (replaced by SOC 3005)

Minor requirements:

The minor in media studies is designed to provide students with a broad knowledge and understanding of theories and methods of analysis of media and the arts, while at the same time allowing for skill development in an art form.

Students interested in the minor should submit a completed Application for a Program of Minor Study to the coordinator of the media studies program.

Academic Requirements for the Minor in Media Studies

  1. MSA 1050/Introduction to Media Studies (3 credits)
  2. Three electives; at least two of these must be taught by faculty in the Media Studies Board of Study (9–12 credits)
  3. At least 4 credits in studio art and/or media production courses

Faculty

  • Assistant Professor of Media Studies

    BA, Smith College
    PhD, University of Southern California

  • Associate Professor of Media Studies and Anthropology
    • BA, University of Chicago
    • MA, New School for Social Research
    • PhD, University of Texas, Austin
  • Visiting Assistant Professor of Media Studies
    • BA, Stony Brook University, SUNY
    • MA, PhD, Graduate Center, City University of New York
  • Associate Professor of Media Studies
    • BA, Grinnell College
    • PhD, University of Texas, Austin
  • Associate Professor of Media Studies and Anthropology
    • BA, Hampshire College
    • MA, University of Washington
    • PhD, Columbia University
  • Lecturer in Media Studies
    • BA, Hunter College, City University of New York
    • MS, Brooklyn College, City University of New York
    • PhD, Ohio University

Contributing Faculty

  • Associate Professor of New Media
    • BA, Brown University
    • MFA, Bard College
  • Assistant Professor of Anthropology
    • BA, Trinity College
    • MA, New York University
    • PhD, Columbia University
  • Lecturer, Anthropology

    PhD, University of Texas, Austin

  • Associate Professor of Anthropology
    • BA, Yale University
    • MIA, Columbia University
    • PhD, Stanford University
  • Associate Professor of Sociology
    • BA, MA, University of New Orleans
    • PhD, New School for Social Research
  • Assistant Professor of New Media and Art+Design
    • BS, MS, Middle East Technical University (Turkey)
    • MA, PhD, New School for Social Research

Courses

MSA 2325: Class Conflict in Popular Culture

Examines cultural representations of poverty, work, and wealth in American popular culture. Students consider how mediated narratives of class conflict reflect and reinforce divisions between social classes (the 99 and 1%) and within them (immigrants and “white working class”). Students develop a deeper appreciation of how class “works” as an economic and political system, and how it is lived.

Credits: 4

PREREQ: MSA1050 Or NME1050

Department: Media Studies
MSA 3020: Reality TV

In 1991, The Real World pioneered a genre of “unscripted” television that reshaped national media culture, culminating in the reality of the 2016 election. Students study theories of Hall, Habermas and Gramsci to explore how the genre reflects and shapes attitudes of U.S. audiences to surveillance, class conflict, and the performance of truths. Examples include Jersey Shore and American Idol.

Credits: 4

PREREQ: CIN1500 Or MSA1050 Or NME1050

Department: Media Studies
MSA 4120: Drag Theory and Practice

Focuses on the histories, politics, and aesthetics of drag. Students engage a variety of work in gender and queer studies, and they also learn how to do drag through a series of practice-based workshops.

Credits: 4

Department: Media Studies

New Media

https://www.purchase.edu/academics/college-catalog/?program=New+Media

Description:

The new media program at Purchase College offers an interdisciplinary bachelor’s degree program at the intersection of art, technology, and society.

Students study digital culture and media and develop their own artwork in studio courses within new media and in other courses drawn from the visual and performing arts, computer science, the social sciences, and other liberal arts disciplines. Portfolio development is a high priority, with each student beginning his or her portfolio in the second year.

Students majoring in new media are offered a structured, well-rounded foundation covering a range of methodologies and content areas, with analysis and production often present in the same course. The program’s focus is on experimental and creative approaches to media production and distribution. The emphasis on practice and theory enables students to become technologically proficient and forward-thinking art and media professionals.

Advanced Standing and the Senior Project

After applying for and receiving advanced standing, new media majors pursue a program of upper-level study designed by the student. This provides students with the opportunity to pursue individual interests while at the same time developing a focus in new media. As part of this program of study, all students are expected to complete an 8-credit senior project, which is supervised by a faculty member of the New Media Board of Study. Various types of senior projects are acceptable, and collaboration among students is encouraged.

Internships: The Bridge to a Career

Our students are strongly encouraged to pursue internships, which provide an important bridge to a career in the field. Many students complete multiple internships both on and off campus. In recent years, on-campus internships have included Purchase TV (PTV), Purchase Student Radio (WPSR), The Brick (an online, student-run newspaper), and Campus Technology Services. Off-campus internships have included Eyebeam, MTV, Focus Features, Comedy Central, Viacom, SONY, and Disney.

The skills of our graduates are well matched to a rapidly changing economy. They work as artists, multimedia designers, mobile game developers, web developers, human-computer interaction specialists, documentary filmmakers, and video editors, among many other careers.

Requirements:

In addition to meeting general degree requirements, all new media majors must complete the following requirements (64–71 credits). The internship is optional, but recommended:

Freshman and Sophomore Years (Foundation): 30–31 credits

Students must earn a grade of C+ or higher in each of these courses. Those who earn a grade lower than a C+ must petition the New Media Board of Study to retake the course. To pass NME 2100, students must attain at least a 2.67 (B-) GPA in the foundation courses. In any given semester, students should not enroll in more than three foundation courses and must not take more than two studio or lab courses. 

  1. PHO 1100/Introduction to Digital Photography: 4 credits
  2. MSA 1050/Introduction to Media Studies: 3 credits
  3. NME 1060/Introduction to Sound: 3 credits
  4. NME 1160/Design Principles: 4 credits
  5. MAT 1520/Computer Science I or
    NME 1450/Programming for Visual Artists: 4 credits
  6. One 2000-level technoculture course (3–4 credits), chosen from the following or approved by the student’s faculty advisor; it should be taken after MSA 1050 has been successfully completed:
    – MSA 2235/Computers and Culture
    – NME 2250/Art and Technology
  7. NME 2420/Video Art I: 4 credits
  8. NME 2750/Introduction to the Web: 4 credits
  9. NME 2100/New Media Advanced Standing: 1 credit
 Applying for Advanced Standing in New Media
New media majors apply for advanced standing in their fourth semester, while concurrently completing the courses required in the first two years of study. A student may be in the process of fulfilling a maximum of two foundation courses concurrent with advanced standing. Because of the interdisciplinary nature of the new media program, it is important that students be strongly focused and self-directed. Therefore, the transition to advanced standing is taken very seriously by the New Media Board of Study.

In order to have a clear picture of each student’s preparedness, the board of study requests that each student submit materials for its review. This advanced-standing presentation package must be submitted two weeks before the beginning of registration for the following semester. To formalize this process, students must register for NME 2100/New Media Advanced Standing in the semester in which they are going to submit their presentation package.

To apply for advanced standing, each student must assemble a presentation package consisting of:
  1. a portfolio of work, which shall be presented on the student’s webpage
  2. a written discussion of the student’s development to date (this two- to four-page document shall include a discussion of courses completed or in progress, projects undertaken, and recent life experiences that have led to the current proposal)
  3. a proposed academic program that the student intends to follow until graduation (this three- to four-page proposal shall include a list of all courses that the student plans to take in his or her remaining semesters, the general area of the intended senior project, and an indication of what projects and internships the student will develop to prepare for a successful senior year)
Please note: The New Media Board of Study reviews the presentation package and determines whether the student receives advanced standing. Advanced standing is a prerequisite for many of the upper-level courses that constitute the major. Students who are not approved for advanced standing will need to complete their BA in a different major.

Advanced Standing in New Media: 34–40 credits

Refer to Applying for Advanced Standing for detailed information. After being accepted for advanced study, requirements are as outlined below. Students must earn a grade of C+ or higher in each of these courses, excluding the senior project.

  • one upper-level history/theory course: 3–4 credits
  • one anthropology/sociology course: 3–4 credits
  • four elective courses chosen for their relevance and applicability to the student’s course of study in new media: 12–16 credits
  • and the synthesis courses, taken in the junior and senior years (16 credits, plus an optional internship):
    1. NME 3880/Junior Seminar in New Media: 4 credits
    2. NME 3995/Internship in New Media (optional): variable credits
    3. NME 4880/Senior Seminar I in New Media: 2 credits
    4. NME 4890/Senior Seminar II in New Media: 2 credits
    5. SPJ 4990/Senior Project I: 4 credits
    6. SPJ 4991/Senior Project II: 4 credits
 Examples of History/Theory Courses
ARH 3405/Design History and Theory: 1750–Today: 4 credits
ARH 3531/New Media and Contemporary Art: 4 credits
CIN 3200/Film, Media, and War Machines: 4 credits
DES 3240/Design Issues: 3 credits
DES 3300/History of Graphic Design Survey: 4 credits
NME 3040/Internet as Public Art: 4 credits
MTH 4120/History of Recorded Music I: 2 credits
MTH 4130/History of Recorded Music II: 2 credits
VIS 3000/Art in the Age of Electronic Media: 3 credits
 Examples of Anthropology/Sociology Courses
The following list includes courses offered by the media studies program and by the School of Art+Design.

ANT 2320/Performing Arts in Cross-Cultural Perspective: 3 credits
ANT 3185/Global Media, Local Cultures: 4 credits
ANT 3345/Media and Performance in Africa: 4 credits
ANT 3410/Anthropology of Art and Aesthetics: 4 credits
MSA 3160/Queer Media Convergence: 4 credits
MSA 3400/Critical Perspectives on Media, Society, and the Arts: 4 credits
MSA 4750/Special Topics in Media, Society, and the Arts: 4 credits
VIS 3500/The Arts for Social Change: 3 credits
 Examples of Elective Courses
Courses in the following lists are subject to change, and new courses may be added. Students should consult with their faculty advisor when choosing electives.

New Media
NME 2470/Drawing, Moving, and Seeing with Code
NME 3010/Cross-Cultural Video Production
NME 3050/Information Aesthetics
NME 3150/Material Distribution: Billboards, Wheatpaste, and Pamphlets
NME 3170/Digital Design and Fabrication
NME 3210/Tactical Practical
NME 3215/New Directions in Virtual Space (added Spring 2018)
NME 3220/Forms of the Moving Image
NME 3230/Real-Time Media Processing
NME 3265/Social Design
NME 3270/Digital Storytelling and Public Narratives
NME 3340/Photography Expanded
NME 3350/Digital Printmaking
NME 3430/Video Graphics
NME 3455/Dark Ecology Studio
NME 3545/Community-Centered Media
NME 3550/Portfolio Workshop
NME 3560/Introduction to Physical Computing: Getting Outside the Box
NME 3675/Copy, Paste
NME 3720/Interactive Installation: Hacking the Everyday
NME 3770/Experimental Web Practice
NME 4150/Special Projects in Tiny Computing

Film:
FLM 3610/Experimental Workshop (Part One)
FLM 3620/Experimental Workshop (Part Two)

Mathematics/Computer Science (School of Natural & Social Sciences):
MAT 1420/Programming Games
MAT 3146/Scripting for the Web (added Spring 2018)
MAT 3440/Creating User Interfaces
MAT 3530/Creating Databases for Web Applications
MAT 3540/Social Software
MAT 3650/Networking and Security
MAT 3670/Robotics
MAT 3755/Mobile Computing
MAT 3765/Mobile Media

School of the Arts:

Studio Composition (Conservatory of Music):
MCO 1310/Studio Composition I
MCO 1320/Studio Composition II
MCO 2310/MIDI Composition I
MCO 2320/MIDI Composition II
MCO 3330/Studio Production I
MCO 3340/Studio Production II
MCO 4350/Digital Audio I
MCO 4360/Digital Audio II

Theatre and Performance (Conservatory of Theatre Arts):
THP 3120/Gameplay and Performance

School of Art+Design:
DES 3090/Interactive Design
DES 3190/Motion Graphics for Designers
DES 4170/Advanced Web Design: Special Projects
PRT 3000/The Animated Print
SCP 3155/Performance Art
SCP 3310/Digital Dimensions
SCP 3420/Video Art II
SCP 3630/Sound/Interactive Media I
SCP 3640/Sound/Interactive Media II

Updates to the 2016–18 Purchase College Catalog:

Effective Spring 2017: 

  • MSA 2200/Media Institutions and Forms removed as a technoculture course option

Faculty

  • Visiting Assistant Professor of Art+Design
    Lecturer in New Media
    • BFA, Savannah College of Art and Design
    • MFA, Bauhaus-Universität Weimar (Germany)
  • Lecturer in New Media

    MFA, Parsons, New School of Design
    BA, Colorado College

  • Assistant Professor of New Media
    Digital Photography Instructional Support Specialist
    • BFA, MFA, Parsons the New School for Design
  • Associate Professor of New Media
    • BFA, San Francisco Art Institute
    • MFA, University of California, Davis
  • Associate Professor of New Media
    • BFA, Nova Scotia College of Art & Design
    • MFA, University of California, Berkeley
  • Lecturer in New Media
    New Media Technician
    • BFA, Icelandic College of Art and Crafts (Reykjavik)
    • MFA, Concordia University (Montreal)
  • Assistant Professor of New Media and Art+Design
    • BS, MS, Middle East Technical University (Turkey)
    • MA, PhD, New School for Social Research
  • Lecturer in New Media

    BA, The Chinese University of Hong Kong
    MFA, Yale University

  • Associate Professor of New Media
    • BA, Brown University
    • MFA, Bard College
  • Assistant Professor of New Media
    • BA, Goddard College
    • MFA, Transart Institute, University of Plymouth (UK)
  • Lecturer in New Media

    MPS, Tisch School of the Arts, New York University
    MArch, University of Belgrade, Serbia
    BArch, University of Belgrade Serbia 

  • Assistant Professor of New Media
    • BA, Tufts University
    • BFA, School of the Museum of Fine Arts
    • MFA, Bard College
  • Associate Professor of New Media
    • BA, Wesleyan University
    • MFA, Carnegie Mellon University
  • Lecturer in New Media

    BA, Purchase College
    MFA, Columbia University

  • Assistant Professor of New Media and Computer Science

    BA, Brandeis University
    MFA,  University of California, Los Angeles

Contributing Faculty

  • Associate Professor of Art+Design
    • BA, Bates College
    • MFA, School of Visual Arts
  • Associate Professor of Media Studies
    • BA, Grinnell College
    • PhD, University of Texas, Austin
  • Visiting Assistant Professor of Media Studies
    • BA, Stony Brook University, SUNY
    • MA, PhD, Graduate Center, City University of New York
  • Lecturer in Art+Design
    • BFA, Pratt Institute
    • MPS, New York University
  • Professor of Art History
    • BA, University of California, Santa Barbara
    • MA, PhD, Stanford University
  • Professor Emerita of Mathematics/Computer Science
    • SB, University of Chicago
    • MA, Columbia University
    • PhD, New York University
  • Associate Professor of Art History
    • BA, Oberlin College
    • MA, University of Iowa
    • PhD, University of Southern California

Courses

ANT 2320: Performing Arts in Cross-Cultural Perspective

An introductory survey of music, theatre, and dance in Western and non-Western cultures, including the relationships between music and religion, dance and weddings, theatre and curing. The course also explores the performing arts as aesthetic phenomena in their own right. Live performances by non-Western performers and optional field trips are planned.

Credits: 3

PREREQ: ANT1500 Or MSA1050 Or NME1050

Department: New Media
ARH 3531: New Media and Contemporary Art

An examination of contemporary art outside of the traditional media of painting, sculpture, and architecture. Looking at painting-based performances of the 1950s, feminist body art, guerrilla television, and current political interventions based in digital media, students identify the strategies artists used to create new forms, and assess their success in modifying our understanding of the world.

Credits: 4

PREREQ: ARH1000-1994 Or ARH2000-2994 Or ARH3000-3994 Or ARH4000-4994

Department: New Media
CIN 3200: Film, Media, and War Machines

An advanced seminar on theories of cinematic and computational media via “the war machine.” Focus is on the relationship between cinematic and military techniques and technologies—what Virilio dubbed “the deadly harmony” between eye and weapon. Emphasis is also placed on the sociopolitics of code, the ramifications of informatic capture and the formation of coded bodies, and the rise of new machines of war and resistance.

Credits: 4

Department: New Media
DES 3090: Interactive and Experience Design

A focused inquiry into the process of designing for, and the creation of, interactive platforms for the purposes of entertainment, persuasion, recreation, and/or human enrichment where the viewer is an active participant. This course is an intensive investigation into considerations surrounding interactive, or experience-oriented, design spaces, and samples supplemental readings from sociology, anthropology, and game theory. You will be required to work collaboratively to pursue concepts through a series of physical and digital investigations.

Credits: 3

PREREQ: (DES2460 And DES3510 ) And DES3200

Department: New Media
DES 3190: Motion Graphics for Designers

Builds on the principles and skills of time-based and interactive design introduced in DES 2460. Technique, theory, and practice are further explored through projects using time, on-screen spatiality, transition, kinetic typography, narrative, and sound. Projects address linear and nonlinear environments such as film and television titling, DVD menus, web splash pages, and graphics for mobile devices.

Credits: 3

PREREQ: DES2460 Or VDE2460

Department: New Media
DES 3265: Social Design

A combined lecture/studio course that examines ethical and social issues in contemporary artistic production and design. The goal is to develop active research about such urgent issues as ecology, body politics and gender, race and urban justice, and human rights, with respect to new futures. Projects incorporate art installations, visualizations, websites, performances, and public campaigns by focusing on creative public engagement.

Credits: 3

PREREQ: NME2100 Or (DES2600 And DES2460 )

Department: New Media
DES 3300: History of Graphic Design Survey

Focuses on print communication, primarily graphic design, in the Western world from the late 19th century to the present. A brief summary of important historical precedents launches a chronological series of lectures on significant movements and individuals and the economic, political, and technological developments that have influenced modern and contemporary print communication.

Credits: 4

Department: New Media
MAT 1420: Programming Games

An introduction to traditional and modern concepts in programming. Traditional concepts covered include variables, expressions, data representation, logic, arrays, functions, and pseudo-random numbers. The modern concepts include graphical constructs and event-driven programming. This course uses familiar games as projects, because implementing games requires an understanding of important programming concepts and attention to the human-computer interface.

Credits: 4

Department: New Media
MAT 1520: Computer Science I

An introduction to problem solving, using computers. Emphasis is on programming, including the study of syntax, semantics, logical structures, graphics, and object-oriented programming. General topics of algorithm development, formulating problems, finding methods for computer solutions, differences among computer languages, and trends in the industry are also discussed. Experience is acquired through hands-on labs and several programming assignments.

Credits: 4

Department: New Media
MAT 3146: Scripting for the Web

Building on the programming introduction in the prerequisite course, students learn about scripting for websites, including HTML, JavaScript, CSS, and php. Topics include the use of cookies, localStorage, video/audio, geolocation, an application program interface such as the Google Maps API, responsive design, and accessibility. Comparisons are made between scripting and compiled languages and client versus server computing.

Credits: 4

PREREQ: MAT1520 Or NME1450

Department: New Media
MAT 3440: Creating User Interfaces

Introduces concepts and skills used in analyzing and designing interfaces for computer applications. As students study techniques and “rules of thumb,” they discover that the design and implementation of each interface is a unique challenge, which requires creativity and consideration of technical, aesthetic, and psychological factors. Includes the use of XML, XSL, XHTML-MP, VoiceXML, and usability studies.

Credits: 4

PREREQ: MAT1420 Or MAT1520 Or NME1420 Or NME1520

Department: New Media
MAT 3530: Creating Databases for Web Applications

Introduces concepts and tools used to build and operate applications that involve information stored in databases. Students analyze and plan databases using entity-relationship modeling and build database applications using both commercial and open-source tools. Includes discussion of database reliability, integrity, and robustness, and the evolving interplay of proprietary vs. open-source software.

Credits: 4

PREREQ: (MAT1520 Or NME1520 Or NME1450 ) And (MAT1420 Or NME1420 Or NME2750 )

Department: New Media
MAT 3650: Networking and Security

Covers the key conceptual and practical aspects of networking and security, which are increasingly important in the era of the internet, Windows, and Unix. TCP/IP communications protocols are explored at multiple levels of the protocol stack. Performance and reliability issues are also studied, using campus intranet and internet connections as well as protocol analyzer and network management tools. Security topics include encryption, authentication, and the likely change from clear-text to Kereberos-type tools.

Credits: 4

PREREQ: MAT1520 Or NME1520

Department: New Media
MAT 3755: Mobile Computing

A study of cellular networks and mobile computing, with emphasis on principles and technologies that can greatly improve the mobile user experience. Topics include mobile app development (iOS/Swift and Android/Java programming), mobile device power models and energy profiling, basics of 3G/LTE, interaction with cellular networks, mobile cloud computing platforms, and mobile platform security and privacy.

Credits: 4

Department: New Media
MSA 1050: Introduction to Media Studies

An introduction to theories of the media, visual, and performing arts. Using semiotics as a point of departure, students explore the language and iconography of visual communication. The course focuses on works of art, advertising, television, and the web as social contexts of cultural production and analyses the role that ordinary people play in the production of media.

Credits: 3

Department: New Media
MSA 2235: Computers and Culture

Examines the connections between computers and culture, with a critical look at how computers may be changing and shaping culture, and how culture affects people’s use and understanding of computers. The course focuses in particular on the ways in which gender, race, and class affect people’s experiences with and understanding of computers. Both work and leisure uses of computers are considered.

Credits: 3

PREREQ: NME1050 Or MSA1050

Department: New Media
MSA 3160: Queer Media Convergence

Media convergence refers to large-scale changes in the ownership and production of media content, as well as the role that audiences and consumers have in its development. This course examines media convergence from the perspectives of queer theory and history, and asks how queer identities, sensibilities, styles, and practices both shape and are shaped by media convergence.

Credits: 4

Department: New Media
NME 1060: Introduction to Sound

A hands-on, introductory audio class in which students learn how to use sound in practical and creative ways, in three phases of production: acquisition, manipulation, and reproduction. Students also learn some of the history of artists and makers who use sound as their medium, as well of some of the technical and theoretical aspects of how sound is created and perceived.

Credits: 3

Department: New Media
NME 1160: Design Principles

A hands-on introduction to the language of design and design principles with emphasis on composition, color, and type. Software for vector image creation is taught alongside understanding the full design process, from visual research to beta testing. Print output is introduced, although the focus is on screen-based media.

Credits: 4

Department: New Media
NME 1450: Programming for Visual Artists

Using a visual environment that provides immediate feedback, students are taught the basic principles of programming and, by extension, math. Lectures focus on key aspects of programming and how working artists use code creatively in their practice. In this course, math is never the end but rather the means to problem-solve during the creative process.

Credits: 4

Department: New Media
NME 2100: New Media Advanced Standing

Students take this course in the semester that they apply for advanced standing. Grading is on a pass/no credit basis.

Credits: 1

Department: New Media
NME 2250: Art and Technology

Examines the interplay between new art forms and technologies from early modernism through today. Focusing on how the two fields have developed in relation to each other, the course addresses two questions: what is the relationship between technology, technique, and art, and how has it changed over time? This is both an art survey course and a study of related philosophical questions.

Credits: 3

PREREQ: NME1050 Or MSA1050

Department: New Media
NME 2420: Video Art I

An introduction to video as a creative visual, auditory, and spatial medium. Students learn the fundamentals of video production with the goal of making original work in the genres of single-channel tape, performance, and installation. At the same time, students are introduced to key works in the history of time-based arts in a weekly thematic program of viewing, listening, reading, and critique.

Credits: 4

PREREQ: NME1010 Or NME1100 Or NME1060 Or VIS1330

Department: New Media
NME 2470: Drawing, Moving, and Seeing with Code

An intermediate lecture/studio course that explores techniques for creating dynamic, poetic, and lifelike animations in code. Students learn techniques to program movement and the simulation of natural systems and behaviors, and develop works that respond to various inputs. Projects are developed using open-source software environments like Processing and p5.js.

Credits: 4

PREREQ: VIS1450 Or MAT1520 Or NME1450 Or NME1520 Or MAT1420 Or NME1420

Department: New Media
NME 2550: Media, Memory, and Desire

An exploration of the ways in which various media technologies promote investment and disinvestment in history, community, and tradition. This course pursues the argument that technology does not derive from, but creates the fundamental structures of human experience, affecting people socially, politically, psychologically, and neurologically. Primary authors include Plato, Kant, Marx, Freud, Heidegger, Derrida, Stiegler, and Malabou.

Credits: 4

PREREQ: NME1050 Or MSA1050

Department: New Media
NME 2750: Introduction to the Web

Students gain a solid understanding of website creation, using HTML and Cascading Style Sheets. Scripting languages and libraries are also introduced to create more advanced interactions or animations. Along with technical skills, students learn web design fundamentals and how artists have used and even served as authors of the web since its inception.

Credits: 4

PREREQ: NME1160

Department: New Media
NME 3010: Cross-Cultural Video Production

Students collaborate with students in other cultures, using the Internet to produce videos on subjects of mutual interest. Because the focus is on developing a cross-cultural dialogue, basic video production experience is expected. Before moving to video, the two groups collaboratively write fiction. During the semester, they meet in video conferences with their peers abroad to discuss their productions. Previous semesters have included collaborations with students at universities in Belarus, Turkey, Mexico, Germany, and Lithuania.

Credits: 4

Department: New Media
NME 3040: Internet as Public Art

A growing dialogue surrounding internet art echoes the rhetoric of community-oriented art practices and public art movements of the past. Topics include an introduction to the history of public art; current internet art practice and theory; how networks can serve physical situations or communities, rather than being a purely screen-based phenomenon; policies that are shaping the functionality of the internet; and new artistic possibilities that arise as ubiquitous computing integrates with public space.

Credits: 4

Department: New Media
NME 3050: Information Aesthetics

A hands-on examination of what it means to live in an information age. Students learn to make sense—and sometimes, new meaning—of data through creative visualizations. The course considers audience together with the politics of information and the persuasion of the visual.

Credits: 4

PREREQ: NME1160

Department: New Media
NME 3150: Material Distribution: Billboards, Wheatpaste, and Pamphlets

Examines how contemporary artists and activists are using print media to communicate ideas in public spaces. The course also more generally considers how printed matter has been used to expand popular consciousness since the invention of the printing press. Students produce their own print interventions for public spaces and incorporate digital media to sustain interaction.

Credits: 4

PREREQ: NME2100

Department: New Media
NME 3170: Digital Design and Fabrication

Focuses on the relationship between digitally aided production processes and traditional techniques of drawing and object building. Emphasis is placed on the fabrication of objects and prints in multiples that interact with physical space and the body. Students are also encouraged to develop their own drawing tools and initiate ideas around making with new media technologies.

Credits: 4

PREREQ: NME2100

Department: New Media
NME 3210: Tactical Practical

The first rule of guerrilla warfare is to know the terrain. Today’s terrain is one of symbols, media spectacles, and technology that artists are uniquely equipped to navigate. In this course, students learn to combine sociological research, communications strategy, technological methods, and artistic tactics to plan effective social interventions. Students should bring their passion, thoughtfulness, compassion, and planning skills.

Credits: 4

PREREQ: NME2100

Department: New Media
NME 3215: New Directions in Virtual Space

Focuses on creating and thinking critically about virtual environments. Students use Unity, a game development platform, but are encouraged to deviate from traditional 3-D games. Artists and texts that seek to examine people’s fascination with the virtual are presented. Students are given an introduction to Unity and the programming language C#, but there is an emphasis on learning strategies for self-instruction and artistic experimentation.

Credits: 4

PREREQ: NME1450 Or MAT1520

Department: New Media
NME 3220: Forms of the Moving Image

Students explore the various ways that artists distribute and present video and the moving image. Examining issues of audience, the physical experience, and the social aspects of media distribution, this course focuses on the life of video after it is rendered. Topics include video installation, the moving image online, live video performance, and video remixes and re-edits.

Credits: 4

PREREQ: NME2100

Department: New Media
NME 3230: Real-Time Media Processing

Using Pure Data, an open-source, graphical programming environment, students experiment with real-time media processing while exploring conceptual concerns and implications through historical and theoretical readings. Projects may include algorithmic or interactive music performances, interactive screen-based visuals, or interactive physical devices.

Credits: 4

PREREQ: NME2100

Department: New Media
NME 3270: Digital Storytelling and Public Narratives

Students develop their storytelling abilities throughout the semester using processes and methods from various disciplines. Together the class explores online and interactive strategies for designing and distributing the work. Public engagement and telling stories to inspire people to act are the focus of this studio. Central questions include what makes a story compelling and effective.

Credits: 3

PREREQ: NME2100

Department: New Media
NME 3275: Special Topics in New Media

Focusing on specialized topics in new media, students work closely with faculty to explore new areas of their practice and research. Students develop projects in particular area of specialization. The curriculum will vary in relation to the faculty member’s practice and research.

Credits: 4

Department: New Media
NME 3340: Photography Expanded

What does it mean to be a photographer in the age of ubiquitous imaging technologies (e.g., cellphones, surveillance cameras, satellites, and drones), social media, and online image databases? Students explore questions related to the status of photography, consider interdisciplinary approaches using emerging technologies (including online platforms, laser cutters, and drones), and work collaboratively in a studio-based environment.

Credits: 3

PREREQ: PHO1100 Or NME1010

Department: New Media
NME 3350: Digital Printmaking

An introduction to the technical aspects of fine art digital printing, using a large-format color printer. Topics include color balance and calibration, soft proofing, and archival preservation. Students expand their two-dimensional image-making skills while developing their artistic vision through the creation of a cohesive body of print-based work.

Credits: 4

PREREQ: NME2100

Department: New Media
NME 3420: Video Art II

A workshop devoted to the production of independent video projects. Students are expected to have some facility with electronic cameras, sound, and editing techniques and to be highly motivated in the use of video as a creative tool. The course is strongly (though not exclusively) focused on video installation, exploring both its unique properties as a mixed-media, time-based form and its relationship to other contemporary 3-D practices.

Credits: 3

PREREQ: (SCP2420 Or VSC2420 ) Or NME2420 And NME2100

Department: New Media
NME 3430: Video Graphics

An exploration of the ways that graphic techniques can be used by video artists, animators, and designers in their work. A variety of approaches are examined, from abstract animation to kinetic text and the transformation of live-action video. Students learn about key framing, matting, compositing, working in 3-D spaces, and other computer-based video processes. A special emphasis is placed on the use of video graphics in contemporary video art.

Credits: 4

PREREQ: NME2100

Department: New Media
NME 3435: Video Performance

Students expand their video production skills while increasing their knowledge of the history and theory of video and performance art. In solo and collaborative assignments, students create projects that grow out of class discussions. Topics include relationships between live, remote, virtual, public, and private performance; action and document; sets and sculptural objects; autobiography and use of the body; and politics of the camera. Contemporary video performance is situated in the context of the history of photographic media as well as contemporary new-media tools and practices.

Credits: 4

PREREQ: NME2420

Department: New Media
NME 3455: Dark Ecology Studio

People are entangled in a dark ecology, in which humans, marshes, car parks, and foreign rubber plantations are all intimately connected. Students explore methods of investigation drawn from both scientific and artistic modes of inquiry, such as mapping, poetic and scientific sensing, visualization, and photography. How can public interventions shift how individuals perceive and represent their deep connections to environmental systems?

Credits: 3

PREREQ: NME1450 Or MAT1520

Department: New Media
NME 3470: Intermediate Video

This intermediate-level course expands students’ understanding of the video medium, its use, and its social, artistic, and cultural contexts. An advanced exploration of personal vision and practical application is also emphasized.

Credits: 4

PREREQ: NME2420

Department: New Media
NME 3540: Social Software

Social software is explored both from technical and critical perspectives. Hands-on work in conceptualizing, designing, and developing social software projects is informed by examining the evolution of social software and its impact on society. Projects may range in complexity from simple websites to data-driven web applications to real-time applications.

Credits: 4

PREREQ: MAT1420 Or NME1420 Or NME1450 Or MAT1520 Or NME1520

Department: New Media
NME 3545: Community-Centered Media

Student groups are paired with local organizations with which they work throughout the semester. After site visits, interviews, and research, students identify a specific problem or need that they can address through media art production. Students learn about the inner workings and critical impact of participating organizations while helping to envision and implement change through creative thinking and technical know-how.

Credits: 4

PREREQ: NME2100

Department: New Media
NME 3550: Portfolio Workshop

Students work independently to develop a portfolio of print-based work under faculty guidance. The focus is on executing a portfolio; therefore, students must come into the course with a developed body of print work. Students study a variety of approaches, materials, and techniques as well as standards in professional practices. Consideration of content and desired goals direct design choices.

Credits: 4

PREREQ: NME3350

Department: New Media
NME 3560: Introduction to Physical Computing: Getting Outside the Box

Students break down the physical barrier of the personal computer and bring computing into the “real” world. The main tool used for this purpose is Arduino, an open-source microcontroller popular with artists and makers. The class discusses the implications of wiring and programming personal electronics and examines artists who have used physical computing to create art.

Credits: 4

PREREQ: (NME1420 Or MAT1420 ) Or (NME1520 Or MAT1520 )

Department: New Media
NME 3675: Copy, Paste

The ease with which digital tools allow people to copy, paste, and recombine creative work challenges long-held ideas about originality and creativity. In this combined studio/lecture course, students examine the theory and history of appropriation, sampling, quotation, and reuse in the arts, while simultaneously creating their own multidisciplinary works that engage with contemporary ideas related to these issues.

Credits: 4

Department: New Media
NME 3720: Interactive Installation: Hacking the Everyday

Considers how artists have traditionally managed interactive spaces and how new technologies expand and shift the meaning of interactivity in contemporary art. “Circuit bending,” an approach to electronics that repurposes older machines and toys, is also introduced. Students create their own interactive artworks; emphasis is on nontraditional uses of materials. Arduino microcontrollers and the Processing open-source platform are demonstrated in class and available to students.

Credits: 4

Department: New Media
NME 3765: Mobile Media

A hands-on exploration of how mobile technology enables new forms of media creation and consumption, with a focus on social and participatory aspects. The mobile Web, geocoding, QR codes, augmented reality, mobile apps, and more are covered. Students use HTML 5 and Javascript for development.

Credits: 4

PREREQ: NME2730 Or MAT2730

Department: New Media
NME 3770: Experimental Web Practice

The internet is examined as a tool for artistic expression and action. Students consider what is unique about the internet; exploit its potential as a means for communication, distribution, simulation, and interaction; and experiment with web production. A wide range of internet art projects are studied to stimulate ideas and give students an understanding of what is happening in the “net art” world. Students are expected to challenge standard notions of how the web functions.

Credits: 4

PREREQ: NME2730 Or MAT3730

Department: New Media
NME 3780: Games for Change

A hands-on examination of how digital games can go beyond pure entertainment and be used as a means for educating people about important social and global issues. Students work on Web-based Flash games, social networking games, or mobile games that are conceptualized, designed, and developed to effect change.

Credits: 4

Department: New Media
NME 3880: Junior Seminar in New Media

Students develop a definition of new media through a range of learning experiences. These include a survey of work in the field, with guest artists and class trips to galleries, media production houses, and events; students’ critical writing and interactive discussions about what they are experiencing; and teacher-structured and student-initiated collaborative projects in which students test different creative roles, using various media.

Credits: 4

PREREQ: NME2100

Department: New Media
NME 4150: Special Projects in Tiny Computing

Students create custom projects using inexpensive, bank card–sized computers for art installations and works for the public good. In the process, their knowledge of text-based interfaces, free culture, collaboration, circuit building, and the history of creative computing/hacking is deepened.

Credits: 3

PREREQ: NME1450 Or MAT1420 Or MAT1520

Department: New Media
NME 4880: Senior Seminar I in New Media

Students meet weekly to discuss some of the seminal texts in new media and to make presentations on their senior project proposals. By the end of the semester, each student has a website describing his or her project and a working timeline.

Credits: 2

Department: New Media
NME 4890: Senior Seminar II in New Media

Students meet weekly to develop their senior projects further, design the new media exhibition, and practice writing proposals to external organizations and preparing their résumés.

Credits: 2

PREREQ: NME4880

Department: New Media
PHO 3355: Landscape Photography: Creating a Personal Vision

Students explore the effect of landscapes and surroundings in Pisciotta, Italy, and develop their personal vision by observing and leveraging those landscapes and translating their experiences into powerful images. Working with digital cameras (a simple one is fine), students create a personal photographic essay, depicting what they see through the lens of their surroundings.

Credits: 4

Department: New Media
SCP 3310: Digital Dimensions

In this digital fabrication course, students explore the relationship between the three-dimensional world and digital technology. In this creative new-media environment, students are given a foundation for developing 3-D content and integrating it into their preferred field. Students generate digital objects, prepare them for real-world fabrication, and create virtual-reality simulations and photorealistic sculpture proposals. This course will utilize laser-cutters, CNC router and 3D printers.

Credits: 4

PREREQ: VIS1260 Or NME2100

Department: New Media
SCP 3630: Sound/Interactive Media I

Sound is explored as material in the context of the visual arts, using DAT recorders, sampling, synthesis, processing, computers, sensor control, and MIDI systems. Projects may include making sonic instruments, sounding objects, and experimental video; ambient, interactive, performative, and multimedia installations; and surround-sound DVDs. Advanced technological means enable uncharted explorations in the time-based arts.

Credits: 3

Department: New Media
SCP 3640: Sound/Interactive Media II

A continuation of SCP 3630, for advanced sound and multimedia projects. Sound is further explored in ambient, interactive, performative, time-based, and site-specific installations. Tools available include the Kurzwell K2600 Architectural Synthesis System and Macintosh computers with mixing, synthesis, and DVD surround-sound mastering technology. Interactive programs in the studio include MAX, Jitter, and Cyclops.

Credits: 3

PREREQ: (SCP3630 Or VSC3630 ) Or NME3630

Department: New Media
THP 3120: Gameplay and Performance

Explores the genre of alternate reality or pervasive gaming currently used as an alternative to traditional performance by contemporary theatrical and visual artists, dancers, and musicians. The blurring distinctions between game and narrative are examined, opening new possibilities for performance. Students design and stage their own live alternate-reality game as a means of storytelling or extend an existing narrative through transmedia.

Credits: 4

Department: New Media
VIS 3000: Art in the Age of Electronic Media

An overview of electronic media and its relationship to the fine arts. This course covers the genre from its infancy to the present and focuses on the study of the art and artists critical to the genre’s development. Lectures, hands-on demonstrations, and visiting artists are augmented by assigned readings, critical writing, and examinations.

Credits: 3

Department: New Media

Playwriting and Screenwriting

https://www.purchase.edu/academics/college-catalog/?program=Playwriting+and+Screenwriting

Description:

Professional writers increasingly work in multiple modes of expression. In the playwriting and screenwriting BA program at Purchase College, students learn to write for both the stage and the screen through studies that engage with these disciplines at the introductory through advanced level. After the foundation courses, writers can choose to continue to study both playwriting and screenwriting or to focus exclusively on one craft.

The curriculum helps students develop a sophisticated eye and gain a deeper understanding of the art and craft involved in making theatre and film. Being at Purchase means a professional approach—working alongside talented film and theatre majors, actors, theatre designers, musicians, visual artists, and dancers in a world-renowned artistic community few other schools can provide. The college’s proximity to New York City provides a distinct advantage: students are taught by industry professionals and have access to all the culture and excitement the city has to offer, and to theatre, film, and television production facilities for their studies and internships. The affordability of Purchase is vital to the economic freedom needed in pursuing a career as a dramatic writer.

The program includes required and elective courses in playwriting and screenwriting; theatre and film history; writing for television, new media, and documentaries; and directing for both stage and screen. Because playwriting and screenwriting are performance arts, students are encouraged to present their work to an audience as much as possible. In their final year, students work with a faculty mentor to develop a substantial senior project: a full-length play, feature-length screenplay, teleplay, or documentary script. Other courses provide the student with portfolio materials in the form of writing samples, both on the page and short works on the screen.

This BA program also provides a solid foundation in the liberal arts, with plenty of room for students to explore other interests, including study abroad programs—all of which enriches their sensibilities as dramatic writers. The program also offers a minor in playwriting and a minor in screenwriting, open to students in all disciplines.

Note for Transfer Students

Students interested in transferring from another school into this BA program and earning the degree in four semesters (entering as a junior) should be aware that they must have already taken:

  • introductory screenwriting
  • introductory playwriting
  • at least one semester of either theatre or cinema history (recommended)

Junior transfers must register for PSW 2000 and 2010 in their first semester.

Requirements:

In addition to meeting general degree requirements, all playwriting and screenwriting majors must meet the following requirements (54 credits):

Foundation courses: 23 credits

  1. PSW 1000/Playwriting I: 4 credits*
  2. PSW 1010/Screenwriting I: 4 credits*
  3. CIN 1030/History of Film Art: 4 credits (required fall 2019 and beyond)
  4. CIN 1500/Introduction to Cinema Studies I: 4 credits (required through spring 2019)
  5. PSW 2000/Screenwriting II: 4 credits
  6. PSW 2010/Playwriting II: 4 credits
  7. THP 2885/Theatre Histories I or THP 2890/Theatre Histories II: 3 credits

*Students must earn a minimum grade of C- in PSW 1000 and PSW 1010 in order to continue in the sequence to PSW 2000 and PSW 2010, respectively.

Electives: 17 credits**

Students choose their electives in consultation with their faculty advisor. At least 10 of the 17 credits must be upper level. Courses in the list of examples are subject to change, and new courses may be added.

**A minimum grade of C- is required for any elective pre-requisites.

Synthesis courses: 14 credits

  1. PSW 3880/Junior Seminar: 4 credits***
  2. PSW 4880/Senior Colloquium in Playwriting and Screenwriting: 2 credits
  3. SPJ 4990/Senior Project I: 4 credits
  4. SPJ 4991/Senior Project II: 4 credits

***A minimum grade of C- is required in the Junior Seminar as pre-requisite for the Senior Project.

 Examples of Electives
CIN 1510/Introduction to Cinema Studies II
PSW 1230/Hollywood and the Writer
PSW 1250/Plays and Playgoing
PSW 2500/The Collaborative Process
PSW 3000/Screenwriting III
PSW 3120/The Writer and the Documentary
PSW 3150/How to Say It: Pitch Sessions and Public Speaking for Writers
PSW 3155/The Art of Rewriting: Killing Our Darlings
PSW 3200/Playwriting III
PSW 3230/Writers’ Scene Workshop
PSW 3300/Writing for Television
PSW 3400/The TV Writer’s Room
PSW 3500/Documentary Theatre: Performing Real Life
THP 2205/Shakespeare Then and Now
THP 3725/Adapting Literature for Performance

Second Liberal Arts Major or Minor, or Other Study Electives Requirement

Effective fall 2018, playwriting and screenwriting majors have the option of either completing a second liberal arts major or minor or other study electives to fulfill this requirement. A minor is strongly encouraged. The list of approved majors/minors is as follows: anthropology, art history, Asian studies, biology, chemistry, environmental studies, French, gender studies, global black studies, history, Italian, Jewish studies, Latin American studies, linguistics, literature, mathematics/computer science, philosophy, philosophy and art, political science, psychology, sociology, or Spanish.

This requirement is not fulfilled by certain second majors and minors. Students are still encouraged to pursue these studies and there is room in their schedules to do so. Excluded majors/minors are: arts management, film/video production, music, theatre and performance, creative writing, communications, and visual arts.

If a student wishes to pursue liberal arts study in a field which does not offer a minor, a five course concentration with two upper level electives (minimum of 18 credits including a minimum of six upper-level credits) can be substituted in consultation with their advisor.

Playwriting/Screenwriting Double Majors

Playwriting/Screenwriting double majors are required to take Junior Seminar in either playwriting or screenwriting. They are not required to do the Senior Project or Senior Colloquium if they choose a Senior Project in their other major. Double majors in the non-excluded areas of study will fulfill the required minor.

Minor requirements:

 


Faculty

  • Lecturer in Playwriting
    • BFA, New York University
    • MFA, Yale School of Drama
  • Associate Professor of Practice in Screenwriting
    • BFA, Purchase College, SUNY
  • Professor of Theatre and Performance
    Lecturer in Playwriting
    • BA, Louisiana State University
    • MA, PhD, New York University
  • Lecturer in Playwriting
    • BFA, MFA, New York University
  • Lecturer in Playwriting

    BA, Yale University
    MA, New York University
    MFA, Brooklyn College

  • Lecturer in Screenwriting
    • BA, Purchase College, SUNY
  • Lecturer in Playwriting
    • BA, University of Chicago
    • MFA, Yale School of Drama
  • Lecturer in Playwriting

    MFA, New York University
    BA, Antioch College

  • Associate Professor of Screenwriting
    • BA, City College of New York
    • MFA, Yale School of Drama
  • Visiting Assistant Professor of Playwriting
    • BA, Seattle University
    • MFA, Bennington College
  • Lecturer in Playwriting
    • BA, Harvard University
    • MFA, New York University
  • Visiting Assistant Professor of Screenwriting and Film
    • BFA, Purchase College, SUNY
  • Lecturer in Playwriting

    MFA, Brooklyn College
    BA, Lutheran College

  • Director of New Plays Now
  • Lecturer in Screenwriting
    • BA, Tufts University
    • BFA, School of the Museum of Fine Arts
    • MFA, Bard College
  • Lecturer in Screenwriting

    JD, Rutgers Law School
    MFA, Catholic University

  • Lecturer
    Director, Academic Resource Center

    BM, Purchase College, SUNY
    MM, New York University

  • Lecturer in Playwriting
    • BA, University of Tampa
    • MFA, University of Iowa
  • Visiting Assistant Professor of Screenwriting
    • BFA, Purchase College, SUNY
  • Lecturer in Playwriting

    MFA, Brown University

  • Lecturer Playwriting

    BA: Brown University
    MSt: New College, University of Oxford
    MFA: Hunter College

  • Lecturer in Playwriting
    • AB, University of Chicago
    • MA, MFA, Yale School of Drama
  • Lecturer in Playwriting

    MFA, Columbia University
    BA, University of California, Los Angeles. 

  • Assistant Professor of Screenwriting and Film
    • BA, Purchase College, SUNY

Courses

PSW 1000: Playwriting I

An introduction to the basic techniques of writing for the stage, beginning with the story. Multiple short writing assignments emphasize character, plot, diction, subtext, and meaning. They include writing from personal experience, adapting a short story and a classical play, and using a current news story as inspiration. Students discuss Aristotle’s elements as they pertain to the scene, apply basic elements of the craft, read several short plays, and attend performances on campus and in New York City.

Credits: 4

Department: Playwriting and Screenwriting
PSW 1010: Screenwriting I

Introduces the student to writing a dramatic story for the screen, placing an emphasis on discovery, good work habits, critical assessment, and rewriting as essential to the professional writer. Through numerous assignments, students learn the basics of dramatic story structure, revealing character, writing dialogue, genre, and use of story suspense. All techniques are applied in a final short screenplay.

Credits: 4

Department: Playwriting and Screenwriting
PSW 1250: Plays and Playgoing

What makes a play alive, provocative, and vital? Using classics of dramatic literature as well as plays that are new to the stage, students read and examine the ideas and mechanics of the play. An examination of some key texts and theories, including Aristotle’s Poetics, Brecht’s Epic Theatre, Artaud’s Theatre of Cruelty, and Boal’s Theatre of the Oppressed lead to a fresh look at the old and the new. Students attend plays on campus and in New York City, and meet some of today’s leading theatre artists.

Credits: 4

Department: Playwriting and Screenwriting
PSW 2000: Screenwriting II: Adaptation

Using an existing short piece of fiction, students delineate the elements of the story, experiencing their importance and power; translate the short story into a screenplay for a narrative film; and complete two drafts of a 25-page screenplay. In the process, they learn the techniques of adaptation for the screen and a deeper level of dramatic story structure. Emphasis is on discovering the dramatic character when evaluating the merits of a particular adaptation, which extends to evaluating one’s own ideas for a screenplay; introducing genre and story types; and research as a dramatist’s fundamental tool.

Credits: 4

PREREQ: PSW1010 Or DWR1010

Department: Playwriting and Screenwriting
PSW 2010: Playwriting II

Building on PSW 1000, students read and attend new plays, develop in-class writing exercises, and then write and revise a 30-page play.

Credits: 4

PREREQ: PSW1000 Or THP3590 Or DWR1000 Or DRA3590

Department: Playwriting and Screenwriting
PSW 2500: The Collaborative Process

Dramatic writing cannot be effective without an understanding of the collaborative process. Students direct, act, and write in this course, which is taught by a professional theatre director. Each student directs a scene from dramatic literature, writes scenes to be directed and acted by fellow classmates, learns some fundamental exercises for the actor, and develops the beginning vocabulary and techniques of the theatre director.

Credits: 3

Department: Playwriting and Screenwriting
PSW 3000: Screenwriting III

An introduction to full-length narrative and the three-act structure. The art and craft of screenwriting are explored through analysis and developing, writing, and rewriting a longer screenplay (60 pages), with an emphasis on what Hollywood looks for in a screenplay. Techniques covered include voice-over, establishing shots, montages, and creating tension and payoff. The business of the screenwriter, how to pitch, and finding work/selling a screenplay are also covered.

Credits: 4

PREREQ: PSW2000 Or DWR2000

Department: Playwriting and Screenwriting
PSW 3120: The Writer and the Documentary

In recent years, opportunities in nonfiction work have grown significantly. In this course, students screen and analyze documentary films, and produce their own short nonfiction film on digital video. Field assignments include researching and conducting interviews; written assignments include narration exercises, documentary summaries, and scripts. Students also learn the basics of Final Cut Pro editing software.

Credits: 4

PREREQ: PSW1010 And CIN1500

Department: Playwriting and Screenwriting
PSW 3130: Site-Specific Playwriting

Explores techniques for developing narrative and dramatic structures in specific spaces/sites. Students read, view, and discuss sample works and theoretical investigation as a means to contextualize our inquiry, while also doing a series of ‘building block’ exercises both in and out of the classroom. Small modular writing assignments build to a final full-length piece.

Credits: 4

PREREQ: PSW2010

Department: Playwriting and Screenwriting
PSW 3150: How to Say It: Pitch Sessions and Public Speaking for Writers

An examination of techniques and tools used to deliver an effective oral presentation. Students prepare and present TV/film pitches and practice talking points for job/media interviews and other public speaking engagements.

Credits: 4

Department: Playwriting and Screenwriting
PSW 3155: The Art of Rewriting: Killing Our Darlings

An exploration of revision techniques and strategies in a workshop environment. In the first half of the semester, students write a one-act through generative exercises. In the second half, they revise the same one-act through examinations of character, dialogue, and structure; text analysis; and other tools. First drafts and production drafts of contemporary American plays are also studied and discussed.

Credits: 4

Department: Playwriting and Screenwriting
PSW 3200: Playwriting III

Students submit plays to be developed in a reading series with actors and a director. Each class is devoted to one play—rehearsed by the actors and director, read for the class, and discussed by all. The collaborative process and vocabulary of constructive criticism are developed. Writers revise their plays during the semester and actors develop crucial play-reading techniques and flexibility.

Credits: 4

PREREQ: PSW2010 Or THP3591 Or DWR2010

Department: Playwriting and Screenwriting
PSW 3230: Writers’ Scene Workshop

Explores the fine anatomy of writing the scene, with emphasis on writers looking at their work from the perspective of the director and on working with actors. Students write and direct a dramatic scene in digital video and learn to produce their video, using Final Cut Pro editing software and the basics of camera/lighting techniques.

Credits: 4

PREREQ: PSW2000 Or DWR2000

Department: Playwriting and Screenwriting
PSW 3300: Writing for Television

Screenings and discussion of various forms of the medium, including the sitcom, television movies, and documentary and experimental forms. Students write a script that is critiqued in class and rewritten, with concentration on the world of the story, tone, character, style, dramatic tension, pacing, and evolving narrative.

Credits: 4

PREREQ: PSW1010 Or DWR1010

Department: Playwriting and Screenwriting
PSW 3310: Book Writing: Story Structure in Musical Theatre

Examines the history and craft of storytelling in musical theatre. Students consider song topic and placement to structure a short original musical. The ability to read and write music is not required.

Credits: 4

PREREQ: PSW1000 And PSW1010

Department: Playwriting and Screenwriting
PSW 3400: The TV Writer’s Room

Students experience the real-world model of collaboratively writing a television series in a “writer’s room.” With the instructor as “show runner,” the class creates a half-hour series and together writes a pilot episode. Each student then writes an episode for the series. Episodic story structure, weaving multiple story lines, the tradition television series, and newly emerging variations are covered.

Credits: 4

PREREQ: PSW1010 Or DWR1010

Department: Playwriting and Screenwriting
PSW 3500: Writing the Web Series

The landscape of short-form, online, episodic storytelling is surveyed, and each student is required to conceive a short-form episodic series, create the show “bible,” and write and produce a pilot “webisode” for that series. Emphasis is on story structure and telling a story in a nontraditional form.

Credits: 4

PREREQ: PSW1010 Or DWR1010

Department: Playwriting and Screenwriting
PSW 3600: Songwriting for the Musical

Students will gain an understanding of the craft of writing and combining lyrics and music. Focus is placed on the process of artistic collaboration as librettists and composers are paired to create original songs. Students will also survey musical writing teams and repertoire. Composers must have the ability to create scores and regularly perform their work.

Credits: 4

Department: Playwriting and Screenwriting
PSW 3880: Junior Seminar in Playwriting and Screenwriting

Students develop ideas for their senior project—a play or screenplay. They research, develop, and present their scenarios to the class for response and critique.

Credits: 4

PREREQ: PSW2000 And PSW2010 And (CIN1500 Or CIN1510 ) And (THP2885 Or THP2890 )

Department: Playwriting and Screenwriting
PSW 4150: Making New Plays

Writers and actors learn tools for working together on new plays. Taught by a playwright and a director, the class studies different collaborative models, including devised theatre, and explores communication strategies for working through creative friction. The course culminates in a final showcase on campus.

Credits: 3

Department: Playwriting and Screenwriting
PSW 4880: Senior Colloquium in Playwriting and Screenwriting

During the solitary pursuit of writing their first full-length play or screenplay, students come together regularly to share in-process work for feedback and critique. A completion schedule is created, and assignments are given to aid in the scriptwriting discovery process. Classes are also devoted to visiting professionals who relate their experiences in the business of being a playwright or screenwriter.

Credits: 2

PREREQ: DWR3880 Or THP3890 Or PSW3880

Department: Playwriting and Screenwriting
Graduate Courses

Media Arts and Culture

https://www.purchase.edu/academics/college-catalog/?program=Media+Arts+and+Culture

Description:

The MFA program in media arts and culture trains students in the progressive, experimental, and participatory forms of creative, critical practice that comprise the cutting edge of contemporary media arts.

Collaboration and Social Engagement

Students collaborate with local communities and galleries to create socially engaged media art that addresses the community’s aspirations, concerns, and needs. Through these partnerships, students explore new modes and sites of media creation, exhibition, and reception. The program stresses the value of hands-on creation and collaboration, pairing students with artists and scholars active in contemporary media arts.

Multidisciplinary Curriculum

Our multidisciplinary curriculum encourages students to think beyond medium-specific approaches, providing them with ample elective choices within and beyond media arts and culture. During their first year, students work in a collaborative environment, a directed studio in which students participate in web-based and installation-based media art. These collaborative works prepare students for their capstone project, a yearlong thesis individually supervised by a faculty member.

Immerse, Transform, and Imagine

This graduate program immerses students in dynamic media projects with neighboring communities. Focusing on a process-based model, students come to understand the transformational role that arts can play in communities. By motivating students to imagine futures through research-based art production, the program enables them to work across a variety of media and platforms, an essential skill that will allow graduates to position themselves within the ever-shifting media industry and landscape.

Requirements:

Students may elect to complete a two-year or a three-year program for the MFA in media arts and culture.

Sixty credits can be completed in two years or 62 credits can be completed in three years. (29 credits in the common core; 23 credits of electives in media arts practice and media history and theory; an 8-credit thesis project as the culminating creative experience; and two elective credits in teaching assistantships for the three-year program).

A minimum 3.0 (B) cumulative GPA must be earned at Purchase College.

Two-year model | Three-year model

 Two-year model

First year

Fall (14 credits)
MAC 5010/History and Theory of Media and Culture I 4 credits
MAC 5050/Media Arts Practice I 4 credits
MAC 5100/Media Arts Critique I 3 credits
MAC 5030/Pedagogy Workshop 3 credits
Spring (15 credits)
MAC 5020/History and Theory of Media and Culture II 4 credits
MAC 5060/Media Arts Practice II 4 credits
MAC 5105 Media Arts Critique II 3 credits
MAC 5/Media Art and Culture Electives 4 credits

Second year

Fall (16 credits)
MAC 5040/Critical Research Methods in Media and Culture 4 credits
MAC 5/Media Arts and Culture elective 4 credits
MAC 5/Media Arts and Culture elective 4 credits
MAC 5990/MFA Thesis I 4 credits
Spring (15 credits)
MAC 5070/Topics in the History and Theory of Media & Culture 4 credits
MAC 5100/Media Art Critique III 3 credits
MAC 5/Media Arts and Culture elective 4 credits
MAC 5991/MFA Thesis II 4 credits

 Three-year model

First year

Fall (11 credits)
MAC 5010/History and Theory of Media and Culture I 4 credits
MAC 5050/Media Arts Practice I 4 credits
MAC 5100/Media Arts Critique I 3 credits
Spring (11 credits)
MAC 5010/History and Theory of Media and Culture II 4 credits
MAC 5060/Media Arts Practice II 4 credits
MAC 5105/Media Arts Critique II 3 credits

Second year

Fall (11 credits)
MAC 5040/Critical Research Methods in Media and Culture 4 credits
MAC 5/Media Arts and Culture elective 4 credits
MAC 5030/Pedagogy Workshop 3 credits
Spring (9 credits)
MAC 5070/Topics in the History and Theory of Media & Culture 4 credits
MAC 5/Media Arts and Culture elective 4 credits
MAC 5998/Teaching assistantship 1 credit

Third year

Fall (9 credits)
MAC 5990/MFA Thesis I 4 credits
MAC 5/Media Arts and Culture elective 4 credits
MAC 5998/Teaching assistantship 1 credit
Spring (11 credits)
MAC 5991/MFA Thesis II 4 credits
MAC 5110/Media Art Critique III 3 credits
MAC 5/Media Arts and Culture elective 4 credits

Courses

MAC 5010: History and Theory of Media and Culture Proseminar I

This first half of a two-semester survey spans the appearance of print media to the development of early cinema, and reflects the interdisciplinary and evolving nature of media studies. Topics include the major theories of media and technology, the historical context in which each medium has appeared, and the schools of thought that have shaped people’s understanding of media and guided the analysis of media texts.

Credits: 4

Department: Media Arts and Culture
MAC 5020: History and Theory of Media and Culture Proseminar II

This second half of a two-semester survey spans the development of classical cinema to the burgeoning of new media environments, and reflects the interdisciplinary and evolving nature of media studies. Topics include the major theories of media and technology, the historical context in which each medium has appeared, and the schools of thought that have shaped people’s understanding of media and guided the analysis of media texts.

Credits: 4

Department: Media Arts and Culture
MAC 5030: Media Pedagogy Workshop

Designed to introduce graduate students to the fundamental methods and issues that arise in teaching media arts and media studies. The class explores the most contemporary methods in media pedagogy and media practices with the goal of preparing students to design their own courses in media arts and media studies.

Credits: 3

Department: Media Arts and Culture
MAC 5040: Critical Research Methods in Media and Culture

Traces the steps entailed in making media art that responds to real-world situations, paying close attention to the complex, evolving relationship between situation and media forms. Students explore how makers can combine ethnography, design methods, and creative communication tactics to generate situations of ethical aesthetic reflection and potential social change.

Credits: 4

PREREQ: MAC5010 And MAC5020

Department: Media Arts and Culture
MAC 5050: Media Arts Practice I

The first half of a two-semester sequence designed to foster the growth of media artists through a model of teacher-led, peer-based learning that spans several parallel activities: critique, discussion, collaboration, and engagement with media art practitioners and the world of media art.

Credits: 4

Department: Media Arts and Culture
MAC 5060: Media Arts Practice II

The second half of a two-semester sequence designed to foster the growth of media artists through a model of teacher-led, peer-based learning that spans several parallel activities: critique, discussion, collaboration, and engagement with media art practitioners and the world of media art.

Credits: 4

PREREQ: MAC5050

Department: Media Arts and Culture
MAC 5070: Topics in the History and Theory of Media and Culture

Technology as a means to extend human sensory perception—from older mediums such as early photography, film, and sound recording to more recent developments in digital media and representation—is covered in detail. Major concepts include issues of tactility, affect, and materialization, as well as the role of sense and perception as it relates to the commodification of everyday life.

Credits: 4

PREREQ: MAC5010 And MAC5020

Department: Media Arts and Culture
MAC 5080: Critical Pedagogy as Art Form

Students examine Critical Pedagogy and its relationship to art. From Joseph Beuys to more recent examples, artists have been making schools to radically expand the definition of art and for other political purposes. We will discuss why and collaborate on several “school forms” of our own to take place on campus and off.

Credits: 3

Department: Media Arts and Culture
MAC 5100: Media Arts Critique I

The first in a three-course sequence focused on the centrality of critique for the development of any creative practice. A critical model is developed that relies on both individual voices and collaborative process. Students hone and exercise their critical voice by learning to situate their practice historically and socially. All students participate in the thoughtful assessment of their classmates’ work and benefit from critiques by invited professionals and by organized visits to contemporary artists working in New York City.

Credits: 3

Department: Media Arts and Culture
MAC 5105: Media Arts Critique II

The second in a three-course sequence focused on the centrality of critique for the development of any creative practice. A critical model is developed that relies on both individual voices and collaborative process. Students hone and exercise their critical voice by learning to situate their practice historically and socially. All students participate in the thoughtful assessment of their classmates’ work and benefit from critiques by invited professionals and by organized visits to contemporary artists working in New York City.

Credits: 3

PREREQ: MAC5100

Department: Media Arts and Culture
MAC 5110: Media Arts Critique III

The third in a three-course sequence focused on the centrality of critique for the development of any creative practice. A critical model is developed that relies on both individual voices and collaborative process. Students hone and exercise their critical voice by learning to situate their practice historically and socially. All students participate in the thoughtful assessment of their classmates’ work and benefit from critiques by invited professionals and by organized visits to contemporary artists working in New York City.

Credits: 3

PREREQ: MAC5100 And MAC5105

Department: Media Arts and Culture
MAC 5990: MFA Thesis I

First part of a two-semester sequence. Students produce a work of media art and a scholarly contextualization of their work within the contemporary field. Students work under the direction of a faculty member to create a work of media art and to master the relevant literature, demonstrating a significant contribution to the field of media arts.

Credits: 4

PREREQ: MAC5010 And MAC5020

Department: Media Arts and Culture
MAC 5991: MFA Thesis II

Second part of a two-semester sequence. Students produce a work of media art and a scholarly contextualization of their work within the contemporary field. Students work under the direction of a faculty member to create a work of media art and to master the relevant literature, demonstrating a significant contribution to the field of media arts.

Credits: 4

PREREQ: MAC5990

Department: Media Arts and Culture

School of Humanities

https://www.purchase.edu/academics/school-of-humanities/

Undergraduate Courses

Art History

https://www.purchase.edu/academics/college-catalog/?program=Art+History

Description:

The art history BA program serves students who view the arts as central to the process of intellectual growth.

The study of art history introduces students to a wide range of visual culture. The program offers study of the various forms of art and architecture: painting, sculpture, graphics, decorative arts, photography, and design. These media are approached through the contexts of social, cultural, and political history, theoretical methods, anthropology, and religious traditions. A large selection of courses covers all periods of history and many of the world’s cultures.

Study on Campus, in New York City, and Abroad

The program is designed to introduce not only subjects but approaches: visual and stylistic analysis, criticism, iconography, historiography, and methodology. Because art history requires the study of original works of art, many courses are supplemented by field trips to museums and art galleries in New York City, just 20 miles south of the Purchase campus. The on-campus Neuberger Museum of Art is also a major resource. Internships and the college’s study abroad programs provide many opportunities for undergraduates to get involved in the art world outside the classroom.

The Junior Year

During the junior year, students select a broad field of study that includes the architecture, sculpture, and painting of several periods (e.g., medieval, Renaissance, early modern, or modern). Students are urged to take at least two courses outside art history related to their area of study (e.g., courses in 19th- and 20th-century literature, history, and/or philosophy, if the focus is on the modern period). The Junior Seminar in Art History examines selected approaches to the study of art history by analyzing various interpretations of the work of a single artist.

The Senior Project

The program culminates in a two-semester senior project, in which each student uses the methods of art history in an in-depth project that may take a variety of forms: a research thesis, an exhibition at the Neuberger Museum of Art, a critical study, or a project based on original works of art within the New York area.

After Graduation

Many alumni choose to pursue their interest in art history through employment at museums and galleries. Other alumni have chosen to work in film production and publishing and as art handlers and transporters. Some have earned advanced degrees in art history, art therapy, and art education.

Requirements:

In addition to meeting general degree requirements, all art history undergraduate majors must complete 14 courses and an 8-credit senior project, as follows:

  1. ARH 1010/History of Art Survey I
  2. ARH 1020/History of Art Survey II
  3. ARH 1021/History of Art Survey II Discussion
  4. Six specialized art history courses, which must include:
    • ARH 3880/Junior Seminar in Art History
    • One course in the history of art before 1800
  5. Two studio courses in the visual arts
  6. Three courses in related disciplines and/or a foreign language
  7. SPJ 4990/Senior Project I: 4 credits
  8. SPJ 4991/Senior Project II: 4 credits

Note: An art history course offered by the School of Liberal Studies & Continuing Education may not be used to fulfill requirement 1, 2, 3, or 4 above, but may be used as a general elective.

Cluster in Museum and Gallery Practice

The cluster in museum and gallery practice may be taken as part of the art history major, using the three courses in related disciplines (#6 in the academic requirements). The cluster consists of courses devoted to museum, gallery, and curatorial practice and includes:

  • ARH 2140/Introduction to the Structure and Function of Museums
  • ARH 3145/Collections Research/Neuberger Museum (topics vary)
  • ARH 4030/Exhibitions Seminar (topics vary)

Internships may also be taken at the Neuberger Museum of Art or at area museums and galleries. (Internships are optional additions to the academic requirements for the major.)

Neuberger Curatorial Fellows Program (Undergraduate)

A competitive, advanced apprenticeship for art history majors, designed to pair students with curators from the museum to curate exhibitions drawn from the permanent collection. In consultation with a faculty advisor, students may use this exhibition to satisfy their senior project requirement for graduation. The application is open to any Purchase College junior or sophomore who has successfully completed at least 45 credits, with at least three courses in art history, museum studies, or related disciplines. The fellowship spans three semesters (or two semesters and a summer session) and culminates in an exhibition. For more information, please visit www.neuberger.org/internship–intro.php.


Updates to the 2016–18 Purchase College Catalog:

  • History of Art Survey II discussion given separate course number (ARH 1021), 01/26/17.
  • Added 11/30/16: Cluster in Museum and Gallery Practice; Neuberger Curatorial Fellows Program.

Minor requirements:

The minor in art history is designed for undergraduate students in all disciplines at Purchase College who are interested in art history and visual culture.

Students interested in pursuing this minor should submit a completed Application for a Program of Minor Study to the School of Humanities main office. Upon admission to the minor, the student is assigned a minor advisor from the art history faculty.

Academic Requirements for the Minor in Art History

Six courses in art history, as follows:

  1. ARH 1010/History of Art Survey I
  2. ARH 1020/History of Art Survey II
  3. ARH 1021/History of Art Survey II Discussion
  4. Three specialized art history courses (2000 level or above)

Note: Art history courses offered by the School of Liberal Studies & Continuing Education may not be used to fulfill these requirements.


Updates to the 2016–18 Purchase College Catalog:

  • History of Art Survey II discussion given separate course number (ARH 1021), 01/26/17.

Faculty

  • Lecturer in Art History

    BA, University of Albany, SUNY
    MA, University of Illinois
    PhD, University of Bradford

  • Professor of Art History
    • BA, University of California, Santa Barbara
    • MA, PhD, Stanford University
  • Professor of Art History
    • BA, Hampshire College
    • MA, PhD, Boston University
  • Lecturer, Art History

    BA, UMass Amherst

  • Assistant Professor of Art History
    • BA, Harvard University
    • PhD, Graduate Center, City University of New York
  • Visiting Assistant Professor of Art History

    PhD, University of California, Berkeley
    MA, CPhil, University of California Berkley
    BA, Bard College

  • Associate Professor of Art History
    Director, Neuberger Museum of Art
    • BA, Tufts University
    • MA, George Washington University
    • PhD, Rutgers University
  • Lecturer in Art History
    • BA, MBA, PhD, New York University
  • Professor of Art History
    • BS, Wheelock College
    • MDiv, Harvard University
    • PhD, Emory University
  • Associate Professor of Art History
    • BA, Oberlin College
    • MA, University of Iowa
    • PhD, University of Southern California
  • Assistant Professor of Art History
    • BA, Wellesley College
    • PhD, University of Chicago

Contributing Faculty

  • Alex Gordon Curator of Art of the Americas, Neuberger Museum of Art
    • MA, Universidad Nacional Autonoma de Mexico
    • BA, MA, PhD, University of Montreal
  • Associate Professor of Art+Design
    • BA, Princeton University
    • MA, Chelsea College of Art and Design, London
    • MFA, Rhode Island School of Design

Courses

ANT 2470: Museum Anthropology

An introduction to the poetics of representation, display, and performance in museums. Students critically analyze museums as spaces of encounter and culture contact; consider the political economy of museums and their links to the education, tourism, and entertainment industries; and participate in and report on curatorial projects at the Neuberger Museum of Art.

Credits: 3

PREREQ: (ANT1500 Or CAN1500 ) Or (MSA1050 Or NME1050 )

Department: Art History
ARH 1010: History of Art Survey I (Ancient through Medieval)

The art and architecture of Egypt, Greece, Rome, and medieval Europe, presented in terms of their visual and cultural significance.

Credits: 4

Department: Art History
ARH 1020: History of Art Survey II (Renaissance through 20th Century)

A survey of the history of Western art, including the works of Masaccio, Van Eyck, Donatello, Bosch, Michelangelo, and Leonardo; followed by the rise of national styles in the 17th and 18th centuries in France and England. Nineteenth-century neoclassicism, romanticism, realism, impressionism, and postimpressionism, as well as modernism and developments in 20th-century art, are also covered. The discussion is required.

Credits: 3

COREQ: ARH1021

Department: Art History
ARH 1021: History of Art Survey II (Renaissance through 20th Century) Discussion

A discussion of the history of Western art, including the works of Masaccio, Van Eyck, Donatello, Bosch, Michelangelo, and Leonardo; followed by the rise of national styles in the 17th and 18th centuries in France and England. Nineteenth-century neoclassicism, romanticism, realism, impressionism, and postimpressionism, as well as modernism and developments in 20th-century art, are also covered.

Credits: 1

COREQ: ARH1020

Department: Art History
ARH 1025: Exhibition as Exploration: Topics

In this seminar-style course, freshmen will explore the aesthetic, historical, and literary context of a given exhibition at the Neuberger Museum of Art. Through close observation, readings, and discussion, students will gain a deep knowledge of the artists in the exhibition, the aesthetic and social questions relevant to the artists’ work, and the curatorial logic guiding the exhibition.

Credits: 4

Department: Art History
ARH 1400: Art in Spain

An introduction to art of the past 500 years in Spain, focusing on certain key topics and periods that help to map out the particular nature of Spanish artistic culture. Special emphasis is placed on the works of such artists as Velázquez, Goya, Picasso, Dalí, and Miró.

Credits: 3

Department: Art History
ARH 2050: Introduction to Modern Art

The work of Courbet, Manet, and the circle of the Impressionists sets the stage for the revolutionary modern movements of the 20th century (e.g., Cubism, Expressionism, Dada, Surrealism). The course concludes with those artists who came to prominence in America at the time of World War II.

Credits: 4

Department: Art History
ARH 2060: Art Since 1945

Introduces the diversity of practices that have dominated the history of art since World War II. Movements include: Abstract Expressionism, postwar European painting, happenings, Fluxus, Pop art, minimalism, conceptual art, performance art, and postmodernism. While European and North American art are emphasized, Asian and Latin American art are also addressed, particularly in the context of increasing globalization.

Credits: 4

Department: Art History
ARH 2140: Introduction to the Structure and Function of Museums

Explores a range of topics, including the history of art museums, current theories and methodologies of display, and museum administration. In addition to class discussion, students meet with museum personnel from the Neuberger Museum of Art to learn the basics of museum operations, including curatorial work, exhibition design, registration, education and public programming, marketing, public relations, and finance.

Credits: 3

Department: Art History
ARH 2155: Medieval Art and Architecture

An examination of painting, sculpture, and architecture during the European Middle Ages, from the end of the Roman Empire through the Gothic era (c. 300–1400). French and Italian art are emphasized, but works from every part of Christian Europe, from England and Spain to the Byzantine Empire, are included.

Credits: 4

Department: Art History
ARH 2160: Picturing America: Art and American Identity to 1913

What is American about American art, and how have questions of race and ethnic and cultural identity shaped our visual culture? Offering an interpretive overview of American history through the lens of American culture, this course traces the formation of American identity from the eve of the European arrival in North America to shortly before the beginning of World War I.

Credits: 4

Department: Art History
ARH 2230: Early Italian Renaissance Art

An examination of painting, sculpture, and architecture produced in Italy from the late 13th century to the late 15th century, including Giotto, Masaccio, Donatello, Brunelleschi, Piero della Francesca, and Botticelli.

Credits: 4

Department: Art History
ARH 2240: Italian High Renaissance and Mannerism

An examination of painting, sculpture, and architecture in Italy during the 16th century. The course begins with an in-depth study of the works of Leonardo, Michelangelo, Raphael, Bramante, Giorgione, and Titian, and then traces the evolution of the anticlassical style known as mannerism.

Credits: 4

Department: Art History
ARH 2265: Greek Art and Architecture

Developments in Greek sculpture, vase painting, and architecture are traced from the destruction of the Mycenaean palaces (c. 1200 BCE) to the rise of the Roman Empire (1st and 2nd centuries BCE). Topics include the impact of Near Eastern civilizations on early Greek culture, the “classical” style’s florescence in 5th-century Athens, and the creation of the Hellenistic world by Alexander the Great.

Credits: 4

Department: Art History
ARH 2300: West African Art

A survey presenting key artistic works from the cultures of West Africa and the Congo region. Students learn about the artistic, social, and political aspects important to these works and the artists that make them. Primary themes include accumulative and multimedia aesthetics, sustainable materials, music and performance, gender, divination, royalty, spirituality, nomadism, collective production, and contemporary art.

Credits: 4

Department: Art History
ARH 2305: West African Dance: History, Theory, and Practice

In this consideration of West African dance of the Mali-Guinea nexus, students investigate conditions of contemporary West African dance artists, their collaborative processes, and the archiving and preservation of their work, and engage in dance activities in West African idioms. Afro-Atlantic formats are also considered. Designed for students in all disciplines, including dance.

Credits: 4

Department: Art History
ARH 2550: Introduction to the Arts of Africa and the African Diaspora I

This survey examines the arts and architecture of Africa in a global context from the 13th century to the present. In regional studies of the continent’s vast territory and diaspora, we analyze artworks to consider their roles in daily life, ritual, displays of power and prestige, artistic exploration and innovation, and more. Weekly visits to the Neuberger Museum are required.

Credits: 4

Department: Art History
ARH 2551: Introduction to the Arts of Africa and the African Diaspora II

Examines the arts and architecture of Africa in the 20th and 21st centuries, engaging critically with how the field of modern and contemporary African art has developed. Students consider the influence of cross-cultural interactions on artistic practices, concepts of traditional, popular, and high art, colonialism and independence movements, primitivism, the rise of African modernisms, Afro-futurism, and more.

Credits: 4

Department: Art History
ARH 2650: Italian Art in the 16th Century: Reformations, Explorations, Deviations

Examines Italian art and architecture of the High Renaissance, Mannerist, and Baroque periods, considering such issues as the status of the artist, the “crisis of the image” during religious reformations, and the place of art in an expanding early-modern understanding of the world. Emphasis is on the development of students’ skills, including formal analysis and critical reading and writing.

Credits: 4

Department: Art History
ARH 2860: Early Medieval Art and Architecture

Explores the development of architecture, sculpture, and painting from the fall of Rome to c. 1140.

Credits: 4

Department: Art History
ARH 2885: Women Artists and Feminist Criticism

An introduction to women artists from the Renaissance era through the Enlightenment, including Anguissola, Gentileschi, Vigée-Lebrun, and Kauffmann. Topics include access to professions, constructions of sexuality and gender, and attitudes toward the body in representation.

Credits: 4

Department: Art History
ARH 3010: The Avant-Gardes

Since the 1800s, the avant-gardes have tried to resist the delimited role of fine art in Western culture. In this course, students examine the strategies that avant-garde artists have used to reconnect their art practice with the more contentious areas of social and political life.

Credits: 4

PREREQ: ARH2000-2994 Or ARH3000-3994 Or ARH4000-4994

Department: Art History
ARH 3030: Approaching Benin through Art Criticism and Practice

Students contextualize Beninese contemporary art and culture into the larger context of West African history. Readings in African history and post-colonial theory accompany hands-on workshops on how to make and write about art while visiting Benin. Students will write response papers, participate in class discussions, and make work using the methods presented in the course.

Credits: 4

Department: Art History
ARH 3107: Flash-points, Fiascos, and Freak-outs: Art and Controversy, 1863-Present

How and why do certain artworks become embroiled in major public debates, political scandals, and legal disputes? Beginning with the 1863 Salon des Refusés and continuing to the present day through an itinerary that travels the globe, students will examine the role of controversy in defining art, society, and how we imagine the relationship between the two.

Credits: 4

Department: Art History
ARH 3125: The Caravaggio Effect

The paintings of Michelangelo Mersisi da Caravaggio (1571–1610) had a revolutionary impact on the art world of his era, and the fascination with his extraordinary re-evaluation of pictorial effects continues to this day. This course examines Caravaggio’s art and career and considers responses to his work by other artists, including film directors, up to the present.

Credits: 4

Department: Art History
ARH 3135: Dada and the Readymade

This seminar focuses on the inception of the “readymade” and the abandonment of traditional forms of painting in the work of Marcel Duchamp, as well as the later development of readymade practices in the context of New York and Paris Dada. The history of the readymade as an artistic strategy is traced.

Credits: 4

PREREQ: ARH1010 Or ARH1020 Or ARH2050 Or ARH2060

Department: Art History
ARH 3145: Collections Research/Neuberger Museum

Based on objects in the Neuberger Museum of Art. Students undertake independent research projects on works in the museum’s collection, investigating issues of documentation and interpretation. Limited to art history majors.

Credits: 3

Department: Art History
ARH 3151: Craft Revivals

Examines the relationship between the traditional crafts and the upheavals of modernity. Beginning with the Arts and Crafts movement in the 19th century and continuing to the present day, students explore how craft is framed as protest against industrialization, as utopian model of labor and exchange, and as aesthetic transformation.

Credits: 4

Department: Art History
ARH 3160: American Art to 1913

Surveys American painting, sculpture, decorative arts, and architecture until the opening of the Armory Show in 1913. The course explores the distinctiveness of the American art tradition.

Credits: 4

PREREQ: ARH1000-2994 Or ARH3000-3994 Or ARH4000-4994 Or HIS1000-2994 Or HIS3000-3994 Or HIS4000-4994

Department: Art History
ARH 3170: African American Art

A study of African American painting, sculpture, architecture, prints, drawings, photography, film, and vernacular and popular art. The course begins with the Afro-Atlantic era and covers images made by Southern artists in the 19th and early 20th centuries, as well as artists associated with the “New Negro” movement, the Harlem Renaissance, the civil rights movement, and postmodernism.

Credits: 4

Department: Art History
ARH 3177: Contemporary African Art

A study of artists and exhibitions from and about Africa, spanning a wide variety of traditional and new media. Important exhibitions like The Short Century: Independence and Liberation Movements in Africa, 1945–1994 (2001) and Looking Both Ways: Art of the Contemporary African Diaspora (2004) are analyzed. Themes include framing “Africa,” African identities, memory and place, and popular culture.

Credits: 4

Department: Art History
ARH 3187: Women Artists in the 20th Century

Focuses on women artists and their place within the art-historical narrative of the 20th century. Students examine both the diverse practices of women artists and the reception of their work by critics, dealers, and collectors.

Credits: 4

Department: Art History
ARH 3190: History of Photography

An introduction to a wide range of photographic practices, from the medium’s conception in the 19th century to the ubiquitous online photo-sharing of today. Lectures have a special focus on the major artistic developments of photography. Topics include the significance of vernacular practices and their historical contexts in different parts of the world.

Credits: 4

Department: Art History
ARH 3197: Global Photography

Treats the history of photography in a global framework. Topics include the transformation of photography as it spreads from Europe to Africa, the Americas, Asia, and the Middle East; the decentering of European modernism in postmodernism; the role of photography in colonialism and decolonization; and its role in fine art as well as vernacular portraiture, journalism, documentary, and other fields.

Credits: 4

Department: Art History
ARH 3215: Photography: The First Century

Examines the photographic medium from its earliest forms through the 1920s and 1930s. Topics include technical innovations, manipulations and interventions, function and reception, the relationship to the fine arts, and debates about photography’s claims of realism.

Credits: 4

Department: Art History
ARH 3225: Albrecht Durer and the German Renaissance

A study of the German painter, printmaker, and draftsman Albrecht Dürer. The artist’s interests in science, politics, religious conflicts, sexuality, and the non-Western world are emphasized.

Credits: 4

PREREQ: ARH1000-2994 Or ARH3000-3994 Or ARH4000-4994 Or HIS1000-2994 Or HIS3000-3994 Or HIS4000-4994

Department: Art History
ARH 3230: Northern Renaissance Art

Examines the history of painting and sculpture in Northern Europe from the 14th century to c. 1570. Flemish, Dutch, French, German, and Czech works are considered, with emphasis on such artists as the Limbourg Brothers, Van Eyck, Bosch, Dürer, and Bruegel.

Credits: 4

PREREQ: ARH1000-2994 Or ARH3000-3994 Or ARH4000-4994 Or HIS1000-2994 Or HIS3000-3994 Or HIS4000-4994

Department: Art History
ARH 3232: Land of Pleasure and Destruction: What Does Campania Say to Us Today?

From ancient to neoclassical, Campania’s monuments are overwhelming with the riches of the past. Students delve into the histories of these great works and the ways they have shaped the modern world through the development of revivalist styles, academic disciplines, and tourism as a leisure activity. Includes visits to such historic sites as Pompeii, Paestum, Amalfi, and Naples.

Credits: 4

Department: Art History
ARH 3238: Italian Futurism

Founded in Italy in 1909, Futurism declared a love of speed, aggression, and technology, and rejected the clichés of nature, love, and antiquity. This course addresses the ways in which Futurists attacked the conventions of art, includes a more general discussion of Futurist art in Italy in relation to its past, and investigates the influence of Futurism in France, Britain, and Russia.

Credits: 4

Department: Art History
ARH 3240: Dutch Art

Investigates the themes, diverse genres, and major figures in 17th-century Dutch painting. Current problems of interpretation are examined, including the idea that there may have been a specifically northern form of visual thinking.

Credits: 4

Department: Art History
ARH 3251: The Russian Avant-Garde

Despite a growing interest in the work of the Russian avant-garde, there is still relatively little known about the artists of the late Russian Empire and the early Soviet Union. This course addresses the broad scope and multidisciplinary practice of Russian modernism, from the shocking primitivism of The Rite of Spring to the cold pragmatism of constructivism.

Credits: 4

Department: Art History
ARH 3255: Introduction to Pre-Columbian Art and Civilizations

Explores the scope and complexity of pre-Columbian art and civilizations, which flourished in Mesoamerica and the Andes. While these societies were responsible for outstanding achievements in mathematics, astronomy, and agriculture, their most enduring contribution is manifested in their art and architecture. Includes required visits to the Metropolitan Museum of Art and the American Museum of Natural History.

Credits: 4

Department: Art History
ARH 3260: Venetian Art and Architecture

An examination of the visual arts in Venice and its hinterland from the early Middle Ages to the end of the Venetian Republic in 1797. In addition to in-depth treatment of such artists as Bellini, Carpaccio, Giorgione, Titian, and Tiepolo, the social context of the arts and the unique urban development of Venice are studied in detail.

Credits: 4

Department: Art History
ARH 3261: Aegean Art and Architecture

A survey of major sites, monuments, and objects of the Greek Bronze Age (c. 3200–1100 BCE). Topics include: the emergence of the first complex civilizations in Europe; the development of regional artistic styles and iconography; interactions with Egypt and the Near East; and the historical reality of later Greek myths.

Credits: 4

Department: Art History
ARH 3270: Art in the Age of Exploration

A study of the representation of Asians, Africans, and Americans (and their native lands) in European and American art from the end of the Middle Ages to the French Revolution. Some consideration is also given to the impact of non-Western arts on the European tradition.

Credits: 4

Department: Art History
ARH 3285: Design and Culture

Design is both a noun and a verb. This course deals with the idea of design as a cultural phenomenon and a creative practice. Contemporary design and its making are situated within a broad methodological framework, drawing from existing and emerging theories in anthropology, art history, film studies, criticism, the history of technology, and architecture.

Credits: 4

Department: Art History
ARH 3335: Latin American Art in the Age of Globalization

Focuses on contemporary Latin American artists working in and out of Latin America: Gabriel Orozco, Guillermo Gomez Peña, Adriana Varejao, Teresa Margolles, Carlos Garaicoa, Betsabeé Romero, Javier Tellez, Nadín Ospina, Tania Bruguera, and Nicolás de Jesus. Students analyze the way these artists address such questions as urban violence, social inequality, pollution, emigration, and national identity.

Credits: 4

Department: Art History
ARH 3395: Land Art

Considers the art movement referred to as land art (or, alternatively, as environmental art) that developed in the late 1960s out of the sculptural and process arts phenomena. Artists central and peripheral to the discourse on this movement are discussed. The time frame explored extends from the 1960s to the global contemporary and DIY sustainability art movements.

Credits: 4

Department: Art History
ARH 3400: Modern Architecture

Explores the interplay between technological innovations and stylistic trends in European and American architecture (1800–1980s). Special emphasis is placed on the contributions of major architects like Louis Sullivan, Frank Lloyd Wright, Le Corbusier, and Ludwig Mies van der Rohe.

Credits: 4

PREREQ: ARH1000-2994 Or ARH3000-3994 Or ARH4000-4994 Or HIS1000-2994 Or HIS3000-3994 Or HIS4000-4994

Department: Art History
ARH 3405: Design History and Theory: 1750–Today

Examines the history of design as it parallels the history of technology and industrialization. Covering a variety of design disciplines, including architecture and urban planning, graphic design, fashion, and industrial design, this course focuses less on aesthetics than on the cultural programs that have shaped buildings, objects, and communication systems for more than two centuries.

Credits: 4

Department: Art History
ARH 3507: The Fictional Visual Arts

Examines a selection of poetry, short stories, novels, and films from different historical periods that foreground the visual arts through various means, including the character of the artist, the practices of art, the nature of creativity, and the critical reception of art.

Credits: 4

Department: Art History
ARH 3510: 19th-Century Art

European art from the French Revolution to 1900, with movements in France, Germany, and England receiving particular attention. Major artists studied include David, Gericault, Delacroix, Ingres, Frederich, Constable, Turner, the Pre-Raphaelites, Daumier, Manet, Degas, Monet, and Gauguin.

Credits: 4

PREREQ: ARH1000-1994 Or ARH2000-2994 Or ARH3000-3994 Or ARH4000-4994

Department: Art History
ARH 3526: Art and/as Performance

An examination of visual artists who have used performance as an integral component of their practice, with emphasis on post-1950 object-oriented work (rather than theatre or dance). Both primary texts and critical interpretations are studied.

Credits: 4

PREREQ: ARH2050 Or ARH2060

Department: Art History
ARH 3531: New Media and Contemporary Art

An examination of contemporary art outside of the traditional media of painting, sculpture, and architecture. Looking at painting-based performances of the 1950s, feminist body art, guerrilla television, and current political interventions based in digital media, students identify the strategies artists used to create new forms, and assess their success in modifying our understanding of the world.

Credits: 4

PREREQ: ARH1000-1994 Or ARH2000-2994 Or ARH3000-3994 Or ARH4000-4994

Department: Art History
ARH 3560: African Photography

Examines photography as a medium used by European colonizers and its subsequent use by Africans for self-definition and liberation. Topics include early studio photography, photographs in cultural outlets like the Nigerian edition of Drum magazine, photography during the apartheid era, and contemporary work. The political and stylistic aspects of portrait, documentary, ethnographic, pop, and abstract images are considered.

Credits: 4

Department: Art History
ARH 3565: Photography in Africa and the African Diaspora

From photography’s 19th-century origins to contemporary practices, this survey course explores how and why photography became central to arguments about the modernity of African visual art. Moving from one regional focus to the next, students examine photography’s role in expeditionary and ethnographic projects, identity formation, political activism, spirituality, documenting the landscape, and representing the fantastical and the everyday.

Credits: 4

Department: Art History
ARH 3570: Creativity, Genius, and the Renaissance Artist and Architect

A critical examination of the concepts of creativity and the artist genius in the era of Brunelleschi, Michelangelo, and Gentileschi. Artist biographies are compared with art historical evidence, including painting, sculpture, architecture and other media, to explore the historical contexts of Renaissance art creation. Topics include self-portraiture, women artists, workshop practices, and the artist’s and architect’s differing connections to fabrication.

Credits: 4

Department: Art History
ARH 3605: Madness and Modernism

A variety of intersections between extreme mental conditions and the production of works of art during the modern period are investigated. Topics include connections between creativity and mental instability, artists with a history of mental disorder, and theories about stylistic or formal affinities between madness and art.

Credits: 4

Department: Art History
ARH 3630: French Art From LaTour to David

Focuses on the work of French artists from the early modern era to the French Revolution, with special attention to the Gallic obsession with realism, alongside the more abstract aspects of representation.

Credits: 4

Department: Art History
ARH 3650: 20th-Century Sculpture

Conceptions of what sculpture can be were radically transformed over the course of the 20th century. This course presents a survey of 20th-century sculpture, with emphasis on innovative materials and techniques, the changing relationship between viewer and object, and new modes of exhibition. The work of Duchamp, Bourgeois, Calder, Judd, Hesse, and Smithson, among others, is discussed.

Credits: 4

Department: Art History
ARH 3660: Utopian Architecture

Emerging from a longstanding literary tradition, examples of utopian architecture give insight into the ideals and fears of the cultures that produced them. This course explores both utopian and dystopian architectural visions, beginning with the Enlightenment works of Ledoux and Boullée and ending with the paper projects of 1960s groups like Archigram and Superstudio.

Credits: 4

Department: Art History
ARH 3670: Postwar Art in Europe

If the postwar period famously represented the ascendency of American art, what art forms emerged simultaneously in traditional European centers? This course examines seemingly antithetical practices in France, Italy, Germany, and elsewhere: Art Informel, nouveau réalisme (new realism), Arte Povera, neoexpressionist painting, body art, conceptualism, Young British Art, etc. How has the changing European political landscape affected art and its institutions?

Credits: 4

Department: Art History
ARH 3710: Artists on Art

An examination of critical and theoretical writing by artists about art. The course considers texts from various eras, but focuses primarily on 20th-century and contemporary material. Artists’ writings are analyzed in the context of art criticism as a whole, and students also have the opportunity try their hand at criticism.

Credits: 4

Department: Art History
ARH 3745: Islam and Its Neighbors: 7th-10th Century

Islam burst forth from its cradle in Arabia and onto the world stage during the 7th century CE. The first caliphates were characterized by important military, diplomatic, and cultural encounters with the Christian Byzantine and Carolingian Empires. This course explores the art, literature, and architecture of these societies, with a focus on artistic adaptations, assimilations, and differences.

Credits: 4

Department: Art History
ARH 3755: Pop Art and Mass Culture

In this historical approach to Pop art, the evolving relationship between mass culture and the visual arts is surveyed, from the development of “modern life” painting in France in the late 19th century to the development of Pop in Britain and the U.S. in the mid-20th century. The legacy of Pop is examined in politically oriented practices of the 1970s and in post-Pop tendencies in contemporary art.

Credits: 4

Department: Art History
ARH 3770: Islamic Spain and Sicily in the Middle Ages

The Islamic conquests of Spain and Sicily brought Muslim culture to European shores for the first time. These conquests resulted in a dynamic artistic exchange among Muslim, Christian, and Jewish medieval traditions in the region. Critical issues for consideration include the impact of trade and diplomacy on this exchange and the lasting influence of Islamic art on the West.

Credits: 4

Department: Art History
ARH 3775: Father of the Arts: Renaissance Drawing

Explores the role of drawing in Renaissance art. Developments in paper-making technology and graphic media allowed artists to create and use drawings in different ways, until drawings came to be seen as finished artworks in their own right, products of the artist’s unique hand. Emphasis is on the development of students’ skills, including formal analysis and critical reading and writing.

Credits: 4

Department: Art History
ARH 3815: Mexican Art From the Revolution to the NAFTA Era

A broad look at modern and contemporary Mexican art, using an interdisciplinary and comparative approach. Special emphasis is on the Mexican Revolution (1910–1920) and its aftermath throughout the 20th century. Students analyze links between the visual arts (including mural painting, prints, and photography) and the literature, the popular scene and the mainstream, the street art and the gallery art.

Credits: 4

Department: Art History
ARH 3880: Junior Seminar in Art History

Provides art history majors with an opportunity to examine the nature of the discipline by analyzing and comparing the writings of several art historians. The seminar concentrates on the work of a single artist in light of various art historical approaches. This writing-intensive course requires a variety of short essays and concludes with a research paper and class presentation. Limited to art history majors.

Credits: 4

Department: Art History
ARH 4000: Writing Art Criticism

Students focus on developing competence in both critical style and content. Focusing on visual art, the course explores different kinds of critical voices, from belle-lettristic to theoretical. Readings and discussions analyze examples by leading critics. Writing assignments aim for students to develop an engaging argument, and the importance of revision, clear thinking, and descriptive ability is stressed.

Credits: 4

Department: Art History
ARH 4005: Ana Mendieta

A seminar examining the artistic and political performativity of the Cuban-American artist Ana Mendieta, who redefined what it means to be an “American” artist through her practice and activism. Mendieta’s formal innovation, autobiographical and political narratives, and efforts toward forging a new sense of “Third World” collectivity are among the topics explored.

Credits: 4

Department: Art History
ARH 4006: Investigating Normal

Explores ideas of the “normal” and “non-normal” in art and design today. Through readings, guest speakers, and projects, the class investigates both traditional and unusual depictions of bodies, race, and gender, along with the art and design practices developed in order to represent and understand them.

Credits: 4

Department: Art History
ARH 4015: Contemporary Art and the Sublime

Examines the resurgence, or persistence, in recent art of the sublime: an experience of overwhelming grandeur. Why have contemporary artists (Matthew Barney, Edward Burtynsky, Tacita Dean, Olafur Eliasson, Andreas Gursky, Bill Viola, and others) turned to an 18th-century aesthetic theory in order to address the pressing issues of our time: climate change, the expansion of technology, and economic globalization?

Credits: 4

Department: Art History
ARH 4025: Exhibition I

Participants in this seminar propose, research, plan, and coordinate an exhibition series and related public programming to be undertaken the following semester (as part of the course, Exhibition II). These exhibitions will take place in the Neuberger Museum, other sites around campus, or in a combination of Museum-based and other locations.

Credits: 4

PREREQ: ARH4035 Or ARH4037

Department: Art History
ARH 4030: Exhibition Seminar

In this seminar, students and the instructor co-curate an exhibition for the Neuberger Museum of Art. The class works on all aspects of the exhibition with the instructor and museum staff. Students learn about the various functions of departments, including curatorial, education, exhibition design, development, and public relations, putting exhibition theory into practice. Exhibition topics vary.

Credits: 4

Department: Art History
ARH 4035: Museology

An investigation of the historical development and function of museums. Students examine the growth of collections and exhibitions, along with the various roles that museums have played in relation to art history and society around the world. Central to this course and its final project is the question: “What should a museum be in the 21st century?”

Credits: 4

PREREQ: ARH2140 Or ARH4030 Or ARH4715

Department: Art History
ARH 4037: Critical Curatorial Studies

A rigorous examination of the historical, theoretical, and concrete concerns of curatorial practice. Course-work culminates in a complete exhibition proposal.

Credits: 4

PREREQ: ARH2050 Or ARH2060

Department: Art History
ARH 4040: Obscenity and Censorship in Contemporary Art

Considers the validity of obscene imagery—eroticism, violence, scatology, racism, and hate speech—in recent artistic practice. Students investigate the struggle to define the terms “art” and “obscenity” and the efforts to censor such art. What are the artistic, critical, and political effects of engaging with obscenity? What are the motivations and effects of attempting to censor it?

Credits: 4

PREREQ: ARH2060

Department: Art History
ARH 4045: The Art of the Document

Addresses the tension between art and document, or making and recording, in twentieth-century visual culture. The first half investigates the aesthetics and politics of documentary photography and film, including conflicts between realism and modernism. The second half examines the use of documents and documentation by postmodern art and subsequent transformations in the style, form, and truth-content of documentary practices.

Credits: 4

Department: Art History
ARH 4060: History of the Art Market

Since the 1990s, the art market has become integral to an understanding of contemporary art practices. This course introduces the economic foundation of the art market and the practices of participants. The focus is on the history of the primary market, where new works of art produced “on spec” are introduced to the public in a retail setting.

Credits: 4

Department: Art History
ARH 4105: Aesthetics and Politics

The relationship between artistic practice and the social realm is addressed, with emphasis on the development of the avant-garde in the 19th and 20th centuries, the role of artists in contemporary political discourse, and the theoretical discourse that constitutes the larger debate on these issues.

Credits: 4

PREREQ: ARH1000-1994 Or ARH2000-2994 Or ARH3000-3994 Or ARH4000-4994

Department: Art History
ARH 4120: The Invisible Seventies

The 1970s are often thought about in frivolous terms, as the decade of disco and bell-bottoms. In art, this period is often overshadowed by the radical avant-gardes of the 1960s and new developments in art during the 1980s. This seminar reconsiders the art and culture of the ’70s in the context of social and political currents of the period.

Credits: 4

PREREQ: ARH2050 Or ARH2060

Department: Art History
ARH 4125: Minimalisms

Drawing on both contemporary artists’ and critics’ writings and recent historical accounts, students consider minimalist art of the 1960s as a well-defined movement comprising a specific group of artists, versus “minimalism” as a diffuse tendency appearing in sculpture, painting, film, music, and dance. The relationship of minimalism to subsequent practices—postminimalism, process and land art, and conceptualism—is also explored.

Credits: 4

Department: Art History
ARH 4130: Contemporary African-American Art: East Coast-West Coast

African-American artistic trends since 1968 are examined by using the binary of East Coast-West Coast as appropriated from hip-hop culture, particularly in Los Angeles, Oakland, and New York. Both the limits of hip-hop aesthetics in the visual arts and the limits of thinking about “black aesthetics” as a stable or quantifiable style are tested.

Credits: 4

Department: Art History
ARH 4202: The Inclusive Museum

Explores the ways in which ability and disability are conceived, represented, and negotiated in museum culture. Weekly discussions, visiting lecturers and screenings will examine key theoretical concepts, practical case studies, as well as the use of educational and internet-based media as assistive technologies. Specific topics will include: museums and the establishment of norms; the category of “assistive technology”; inclusive architecture and design; staring and other practices of looking; disability and performance art; media advocacy and activism.

Credits: 4

Department: Art History
ARH 4225: Theories of Painting

Painting has long been accompanied by theories describing its abilities to attract, deceive, and even harm. This course looks at key theories and debates in the history of the medium (e.g., Rubenistes vs. Poussinistes, painting’s role among pluralistic practices) to better understand how both making and seeing a painting are colored by a history of ideas.

Credits: 4

PREREQ: ARH1020 Or ARH2050

Department: Art History
ARH 4300: Theorizing Design

Why design? Why consume? What is desire? Are you what you make? Are you what you consume? How does design communicate? Design is a complex activity that touches on fields as diverse as psychoanalysis and anthropology. This course provides a theoretical understanding of design practice, production, and use (consumption). Topics include graphic and digital design, furniture, architecture, and industrial design.

Credits: 4

Department: Art History
ARH 4340: American Art and Architecture in the Age of the Machine

Focuses on objects and movements influenced by industrialization and mechanization in the U.S. between 1900 and 1940. Topics include the rise of the skyscraper in American architecture and its effect on painters and printmakers, the advent of the automobile and the assembly line’s replacement of the factory worker, and Dada’s expression of the havoc reeked during World War I by new machine-age technology.

Credits: 4

Department: Art History
ARH 4445: Seminar: Rauschenberg

The work of Robert Rauschenberg is examined in the context of postwar neo-avant-garde activities in the U.S. and in relation to the work of contemporaries like Jasper Johns and John Cage. Students also review recent theoretical debates about the meaning and significance of the artist’s work. Some background in the study of modern or contemporary art is useful.

Credits: 4

Department: Art History
ARH 4460: Field Trips to New York Museums and Galleries

A practical course in art criticism, which meets regularly in New York. Contemporary works of art form the basis for lectures, discussions, and written essays.

Credits: 4

PREREQ: ARH1000-2994 Or ARH3000-3994 Or ARH4000-4994

Department: Art History
ARH 4590: Pre-Columbian Aesthetics in Modern Latin American Art

Since the late 1800s, pre-Columbian art and history have inspired Latin American artists. This course investigates that phenomenon through an in-depth study of the work of individual artists, including Diego Rivera and Frida Kahlo, as well as more contemporary figures. Students are also introduced to pre-Columbian art and architecture.

Credits: 4

Department: Art History
ARH 4620: Van Gogh in Context

Although Vincent van Gogh is one of the world’s best-known and most beloved artists, his work is often reduced to simplistic notions of madness and genius. This course expands students’ understanding of the artist by exploring his connection to the contemporary contexts of mechanical reproduction, national identity, and urban culture.

Credits: 4

PREREQ: ARH1020 Or ARH2050 Or ARH3000-4994

Department: Art History
ARH 4705: Art and History After 1989

This seminar focuses on uses of history—as both subject and method—in art around the turn of the 21st century. Within a globally comparative frame, students investigate contemporary theories and practices that take stock of the past in order to reimagine the future at a moment when the world seems simultaneously more connected and more fractured than ever before.

Credits: 4

PREREQ: ARH1020 Or ARH2050 Or ARH2060

Department: Art History
ARH 4710: Exoticism in Modern Art

Explores reciprocal influences of Western and non-Western art in the modern period. Topics include diverse artistic movements like “Orientalism,” “Japonisme,” and “Primitivism.” The class also examines the impact of non-Western art on specific artists, including Delacroix, Manet, Whistler, Picasso, and Pollock.

Credits: 4

Department: Art History
ARH 4715: Collect, Display, Exchange

This seminar delves into the historical, theoretical, and practical aspects of museum and exhibition practices in the U.S., from encyclopedic museums to storefront galleries. In addition to classroom discussion, students visit arts institutions in the area to consider collection and exhibition-related issues and to learn more about the operational function and structure of museums.

Credits: 4

Department: Art History
ARH 4770: African Art and Film

African art and visual culture are considered in the context of African film. African youth, who make up most of the continent’s population, have had a marked effect on many sociopolitical phenomena. The films screened address African youth culture and such issues as the new independence (1960s), post-apartheid South Africa, youth rebels, religious fundamentalism, HIV, hip-hop and digital culture, and global emigration.

Credits: 4

Department: Art History
ARH 4775: Performance Art in the West African Diaspora

An analysis of the roots and reinvigorations of West African performance art featuring the artist’s body, with emphasis on manifestations in Europe, the United States, the Caribbean, Central and South America, and especially Afro-Brazil. Topics include griot styles; contemporary African fashions and pop culture; and musical call and response as adapted for dance, sculpture, painting, film, fashion, and photography.

Credits: 4

Department: Art History
ARH 4820: Food and Feasting in the Visual Arts

The visual record of the production and consumption of food and drink are examined in this seminar. Topics include food in the still life, the representation of gluttony, and the prominent position of sacred feasts and food miracles in religious art. The primary focus is on Western art, but examples from other traditions are considered.

Credits: 4

PREREQ: ARH1000-1994 Or ARH2000-2994 Or ARH3000-3994 Or ARH4000-4994

Department: Art History
LIT 3497: Gothic

In this advanced lecture, the first wave of Gothic novels from the mid-18th century to the mid-19th century is examined in relation to visual representations of issues that dominate Gothic discourse. Topics include horror, imprisonment, madness, gender, ghosts and vampires. Authors and artists studied include Austen, the Brontë sisters, Radcliffe, Collins, Blake, Fuseli, and Turner.

Credits: 4

Department: Art History
PHI 3275: Light and Truth: Film, Photography, and Reality

Do photographic images have privileged access to truth? This course explores the complicated relationship between truth and visual (particularly filmic) images. It begins with Plato on the “fakery” that is painting, turns to 17th-century “faithfulness” and “sincerity” in still-life painting and scientific drawing, and looks in depth at 20th-century writings about the nature of photography and realism in representation.

Credits: 4

Department: Art History
PHI 3785: Art and Morality

What, if any, moral and political obligations does art have? Should public policy promote some kinds of art and discourage others? This course addresses these and related questions via works from across the arts and philosophical texts.

Credits: 4

Department: Art History
PRT 2500: The History of Printmaking

In this survey of the historical significance of printmaking, the focus is on understanding the history of print media and its influence on culture in Europe, Asia, and the New World. Students explore both the history of printmaking and its intertwined relationship to the history of art. Of prime concern are the unique and distinct characteristics of each printmaking process.

Credits: 3

Department: Art History

College and Expository Writing

https://www.purchase.edu/academics/college-catalog/?program=College+and+Expository+Writing

Description:

The ability to express ideas clearly and effectively in writing is essential to success as a student and citizen.

Students learn and practice these skills throughout their academic career at Purchase College, beginning with College Writing (WRI 1110) in their first year. College Writing teaches students to:

  1. produce strong written work at the college level
  2. read and think critically
  3. take a position and develop an argument of their own
  4. research a topic and write a well-organized paper that develops their claims in dialogue with the sources
  5. revise and improve their papers
  6. present their ideas orally

College Writing is taught in small sections in a seminar/discussion format that requires students to achieve proficiency in speaking and listening as well as writing and reading.

Entering students may only be exempted from College Writing by achieving an AP score of 4 or higher. For additional information, refer to the College Writing AP policy for freshmen.

English as an Additional Language

Courses in English as an additional language (EAL) are also offered under the auspices of the college writing program.


Faculty

  • Lecturer in Writing
    • BA, Barnard College
    • MBA, Harvard University
    • MFA, Sarah Lawrence College
  • Lecturer in Writing
    • BA, Pennsylvania State University
    • MFA, Sarah Lawrence College
    • MEd, Temple University
    • EdD, University of Pennsylvania
  • Lecturer, Expository and College Writing

    BA, John Jay College of Criminal Justice, CUNY
    MFA, John Jay College of Criminal Justice, CUNY
    MFA, Sarah Lawrence College

  • Lecturer in Writing
    • BA, Hunter College, City University of New York
    • MFA, Sarah Lawrence College
  • Lecturer in Writing
    • BA, University of Michigan
    • MFA, Sarah Lawrence College
  • Lecturer in Writing
    • BA, Pace University
    • MFA, Sarah Lawrence College
  • Professor of Literature and Pedagogy
    • BA, Boston College
    • MA, PhD, University of Connecticut
  • Associate Professor of Literature
    • BA (Honors), University of Delhi (India)
    • MA, MPhil, PhD, Columbia University
  • Assistant Professor of Literature
    • BA, Queens College, City University of New York
    • MA, PhD, Columbia University
  • Lecturer in Writing
    • BA, Yale University
    • MPS, Manhattanville College
  • Lecturer in Writing
    • BA, Oberlin College
    • MFA, Sarah Lawrence College
  • Lecturer in Writing
    • BA, University of Central Florida
    • MFA, Sarah Lawrence College
  • Professor of Music
    • BM, University of Michigan
    • MM, Mannes College of Music
    • PhD, Graduate Center, City University of New York
  • Lecturer in Writing
    • BA, Wayne State University
    • MPS, Manhattanville College
  • Lecturer in Writing
    • AB, Harvard University
    • MFA, Yale School of Drama
    • PhD, Columbia University
  • Lecturer in Writing
    • BA, Occidental College
    • MA, California State University, Los Angeles
    • MFA, Sarah Lawrence College
  • Lecturer in Writing
    • BA, York College, City University of New York
    • MFA, Sarah Lawrence College
  • Lecturer in Writing
    • BA, California State University, Northridge
    • MFA, Sarah Lawrence College
    • JD, Villanova University
  • Lecturer in Writing
    Assistant Director, Advising Center
    • MusB, MM, Purchase College, SUNY
  • Lecturer in Writing
    • AB, Princeton University
    • JD, New York University School of Law
  • Associate Professor of Literature and Writing
    Chair, School of Humanities
    • BA, MA, PhD, Columbia University

Courses

WRI 1105: College Writing Lab

Students receive supplemental instruction in critical thinking and writing, writing mechanics, organization, and style. They also learn techniques for effective workshopping and provide regular feedback on each other’s work.

Credits: 1

Department: Expository and College Writing
WRI 1110: College Writing

The ability to express ideas clearly and effectively in writing is essential to success as a student and citizen. Students learn and practice these skills throughout their academic career at Purchase College, beginning with College Writing. This is an intensive course that teaches students to:

  1. produce strong written work at the college level
  2. read and think critically
  3. take a position and develop an argument of their own
  4. research a topic and write a well-organized paper that develops their claims in dialogue with the sources
  5. revise and improve their papers
  6. present their ideas orally

Credits: 4

Department: Expository and College Writing
WRI 2110: Advanced Critical Writing Workshop

What makes a person an insider or an outsider? Beginning with personal experience and writing, students explore the ways in which race, ethnicity, gender, sexuality, and social class affect individual, communal, national, and transnational identity and belonging in American culture. In connecting multiple levels of experience, students engage in critical reading, research, analysis, writing, and revision, building on their strong skills in preparation for upper-level work.

Credits: 4

PREREQ: Or WRI1110

Department: Expository and College Writing
WRI 2770: The Art of the Essay

Though often seen as simply a test of students’ knowledge and ideas, essays go far beyond what is generally required in courses. Students in this course read and experiment with a wide variety of critical, journalistic, academic, personal, and experimental essay forms. In the process, they further develop their skills as critical thinkers and writers.

Credits: 4

PREREQ: WRI1110 Or WRI2110

Department: Expository and College Writing
WRI 3785: The Personal Essay

In the personal essay, writers adopt distinct points of view, moving beyond the emotional to analytical and reasoned positions. Topics can include personal reflections, thoughts on daily life, art analysis, and political arguments. Students read and analyze contemporary essays and “workshop” each other’s writing. Requirements include attending instructor-supervised events (films, performances, guest speakers) outside of class for some writing assignments.

Credits: 4

Department: Expository and College Writing

English as an Additional Language

EAL 1500: English as an Additional Language I

Students develop basic language skills through reading, writing, speaking, and listening. They learn components of academic writing, including paragraphs and thesis statements, and gain critical reading and analytical skills through work with basic texts. Students share ideas and experiences both verbally and in writing, and improve grammar and vocabulary through writing activities, academic exercises, and workshops.

Credits: 4

Department: Undeclared
EAL 1510: English as an Additional Language II

Students gain advanced language skills through reading, writing, speaking, and listening. Working with more advanced texts, they further develop critical reading and analytical skills. They gain experience with the essay form, and learn to write definition, process analysis, descriptive, and opinion pieces. Students share ideas and experiences both verbally and in writing, and continue to strengthen grammar and vocabulary.

Credits: 4

Department: Undeclared
EAL 1520: English as an Additional Language III

Students develop advanced language skills through reading, writing, speaking, and listening. Working with advanced texts, they further develop critical reading and analytical skills. They gain experience with academic writing, including cause and effect, comparative, narrative, and opinion pieces, and learn basic research skills. Students practice analyzing information and expressing ideas verbally and in writing, and continue to strengthen grammar and vocabulary.

Credits: 4

Department: Undeclared

Creative Writing

https://www.purchase.edu/academics/college-catalog/?program=Creative+Writing

Description:

The Lilly Lieb Port creative writing program is a highly selective and structured BA program that shares features of the college’s arts programs.

The purpose of this program is to offer motivated, talented, and committed students a dynamic context and community in which to explore all aspects of creative writing.

As an integral part of the program, readings are held each semester by students, faculty, alumni who have published their writing, and professional writers. Editors and other members of the publishing world are also invited to speak and share their expertise with students.

Italics Mine (italicsmine.com), a student-run literary journal under the stewardship of the creative writing program, showcases the talent and diversity of Purchase College students by publishing original art, fiction, poetry, and nonfiction in print and online.

Study Abroad Opportunities

Creative writing majors are encouraged to apply to the college’s summer program in France, where they will participate in an intensive writing workshop, drawing on explorations of the surroundings for material.

Requirements:

In addition to meeting general degree requirements, creative writing majors must complete a minimum of nine courses and an 8-credit senior project (45–47 credits total) as follows. The foundation courses and the two genre courses must be completed with a grade of B or higher:

  • CWR 1000/Poetic Techniques: 4 credits*
  • CWR 1100/Narrative Techniques: 4 credits*
  • Two courses in the student’s chosen genre (poetry or fiction): 8 credits*
    CWR 2400/Poetry Writing I and CWR 3400/Poetry Writing II
    or
    CWR 2500/Fiction Writing I and either CWR 3200/The Art of the Novella or CWR 3500/Fiction Writing II
    *Must be completed with a grade of B or higher.
  • Two upper-level creative writing electives: 8 credits
  • Two literature courses, chosen from an approved list: 7–8 credits
  • Arts-related course(s): 3–4 credits
  • CWR 4000/Special Topics in Creative Writing: 3 credits
  • SPJ 4990/Senior Project I: 4 credits
  • SPJ 4991/Senior Project II: 4 credits

Note: A semester of study abroad is strongly recommended.

 Examples of Literature Courses
Literature courses that fulfill the requirement for the major are those in which a broad array of writers are studied. Courses in the following list are subject to change, and new courses may be added. Students should consult with their faculty advisor when choosing literature courses.
 
FRE 3067/French Caribbean Literature
LIT 2361/U.S. Short Story
LIT 2560/Survey of U.S. Literature I
LIT 2570/Survey of U.S. Literature II
LIT 2675/Literature and the City
LIT 3140/Medieval English Literature
LIT 3155/Renaissance in England
LIT 3266/Kafka to Roth
LIT 3315/The 19th-Century Novel in the U.S.
LIT 3380/Literature of the Harlem Renaissance
LIT 3415/Global Metafictions
LIT 3420/Modern Poetry
LIT 3581/Realism and Naturalism in U.S. Literature
LIT 3585/Childhood in U.S. Literature
LIT 3620/U.S. Poetry
LIT 3665/American Women Writers
LIT 3695/Contemporary U.S. Literature
LIT 3755/Poetry and the Avant-Garde
LIT 4690/Contemporary US Poetry
SPA 3370/Lettered Cities: The Literatures of Latin American Cities*
SPA 3700/The Latin American Short Story*
*Taught in Spanish
 Examples of Arts-Related Courses
Courses in the following list are subject to change, and new courses may be added. Students should consult with their faculty advisor when choosing arts-related courses.
 
Conservatory of Dance:
DPD 3280/Your Brain on Art: Explorations in Neuroaesthetics
Conservatory of Music:
MTH 3180/Electroacoustic Music I
MTH 4120/History of Recorded Music I: Blues to Bebop
Conservatory of Theatre Arts:
ACT 3004/Creative Expression
TDT 3008/Costume Design Seen Through Film
THP 3130/Transmedia and Performance
School of Art+Design:
DES 4790/Artist/Writer Workshop
PAD 3201/On-site Painting
SCP 3155/Performance Art
SCP 3430/Aural Electronics
SCP 3630/Sound/Interactive Media I
SCP 3640/Sound/Interactive Media II
SCP 3650/Immersive Sound Architectures
VIS 3000/Art in the Age of Electronic Media
VIS 3120/Crossover II
VIS 3350/Art and Activism
VIS 3370/City as Studio as Seminar
VIS 3440/Contemporary Issues in Art
VIS 3470/Special Topic Colloquium
VIS 3500/The Arts for Social Change 

School of Liberal Studies & Continuing Education
:
THP 3255/Musicals: Stage, Screen, and Beyond

Sequence of Study

All creative writing majors follow a sequence of courses, whether their chosen genre is poetry or fiction:

  1. To encourage an awareness of and sensitivity to the various aspects of the craft of creative writing, students are required to take the introductory courses, CWR 1000 and 1100, in their first year of study.
  2. In the second year, poetry students move on to CWR 2400/Poetry Writing I, then to CWR 3400/Poetry Writing II, while fiction writing students take CWR 2500/Fiction Writing I, followed by either CWR 3200/The Art of the Novella or CWR 3500/Fiction Writing II.
  3. After completing this course sequence, students have the opportunity to study for one semester with a writer-in-residence. In addition, advanced tutorials are available on a regular basis, emphasizing continuous, close work on revision and editing skills. In the most advanced classes, students begin to explore the fiction and poetry market. A component of advanced study may also include experience in editorial and copyediting techniques as preparation for work in the publishing industries.
  4. Students take CWR 4000/Special Topics in Creative Writing in the fall of their senior year, in tandem with the first semester of their senior project.

Faculty

  • Lecturer, Creative Writing

    BA, State University of New York, Purchase College

  • Lecturer in Creative Writing

    MFA, Columbia University
    BA, Purchase College, State University of New York

  • Professor of Creative Writing
    • BA, Fontbonne College
    • PhD, Florida State University
  • Lecturer in Creative Writing

    BA in Creative Writing, Purchase College, SUNY
    MFA in Poetry from Columbia University

  • Associate Professor of Creative Writing
    • BA, Harvard University
    • MFA, Columbia University
  • Lecturer in Creative Writing

    BA in English from Ramapo College
    MFA in Poetry from Columbia University

  • Assistant Professor of Creative Writing
    • BA, Connecticut College
    • MFA, Purdue University

Courses

CWR 1000: Poetic Techniques

Introduces the essentials of poetry writing, including poetic form and forms (traditional and unconventional), line structures and rhythms, figures of speech, and other elements of rhetoric, voice, and subject matter. Regular writing exercises are the heart of the course, emphasizing problems to solve and techniques to master. Reading and study of important poetic models accompanies the poetry writing. Students produce a portfolio of original poems by the end of the semester.

Credits: 4

Department: Creative Writing
CWR 1010: Introduction to Creative Writing

This introductory course in creative writing allows students to explore various genres. Poetry, the short story, and memoir are among the forms discussed. Students should be prepared to write, revise, and share portions of their work with other members of the class, and to read a selection of works by contemporary authors.

Credits: 3

Department: Creative Writing
CWR 1100: Narrative Techniques

An introduction to the fundamental aspects of fiction writing, including dialogue, plot, point of view, character development, detail, and voice. Starting from a series of writing exercises and analyses of published stories, students explore the techniques involved in creating effective fiction, using these as a springboard to complete a short story.

Credits: 4

Department: Creative Writing
CWR 2300: Creative Nonfiction

In this introduction to creative nonfiction, students explore a variety of forms within the genre, including personal narrative, memoir, reportage, and the lyric essay. Students also write and workshop their own original essays.

Credits: 4

PREREQ: CWR1000 And CWR1100

Department: Creative Writing
CWR 2400: Poetry Writing I

Students begin to study and practice poetic strategies, producing a poem per week in response to assigned exercises. Students also develop skills in critiquing by commenting on each others’ work and by reading and discussing the work of established poets. Permission of Instructor required.

Credits: 4

PREREQ: CWR1000 Or CWR1050

Department: Creative Writing
CWR 2500: Fiction Writing I

While continuing to explore narrative strategies, students write and submit several short stories during the semester. Students also learn the fundamentals of critiquing as they discuss their work and that of published writers. Permission of Instructor required.

Credits: 4

PREREQ: CWR1050 Or (CWR1000 And CWR1100 )

Department: Creative Writing
CWR 3105: Writing and Reading the Region

Using the French location and selected readings related to the region, students explore the contexts and their responses through writing. Students meet at various locations, from castles and ruins to a local café, and receive writing assignments that draw on place and setting. Each week, students select one of their on-the-spot works to revise and develop into a short piece of fiction for submission. Emphasis is on capturing the nuances of one’s surroundings and experiences of these surroundings, and on how to use setting as a main “character“ in writing. Summer (offered in France)

Credits: 4

Department: Creative Writing
CWR 3110: Writing Home

Often, to leave home is to truly see it. This course explores how writers craft “home” in their fiction. Whether crossing literal or figurative borders, the impulse for home is at the heart of character desire. Students will read the work of diverse writers as they write home in their own fiction.

Credits: 4

PREREQ: CWR1100 And CWR1000 And CWR2500 And CWR3500

Department: Creative Writing
CWR 3125: Alternate Worlds

This writing workshop draws on a variety of texts, media, and film as students explore fictional portrayals of other worlds. In their writing assignments, students focus on elements that contribute to effective narratives—setting, character, situation, etcetera—in order to create alternate realities.

Credits: 4

PREREQ: CWR2500

Department: Creative Writing
CWR 3200: The Art of the Novella

What makes the novella work? What power does the form offer that the short story and longer novel do not? Is there a subject matter best suited to such brevity? Students examine these questions through close reading of works by new and established writers (e.g., James, Conrad, Moore), and begin to structure and write their own novella.

Credits: 4

PREREQ: CWR2500

Department: Creative Writing
CWR 3210: Constructing Truths: The Personal Essay

Students are guided through the classical questions of form and style, the building materials of the personal essay, through reading and writing assignments. Students examine the elements that convince the reader of the truth of their tales and explore how to confront their own experiences creatively. Readings are various, but with a focus on the 20th-century essay in English.

Credits: 4

Department: Creative Writing
CWR 3215: Editing and Production Workshop: Editing

Focusing on the art of editing, students learn best editing practices through a practical and historical context of the literary journal landscape in the U.S. Students apply their skills to editing content to be published in the creative writing program’s literary magazine, Italics Mine.

Credits: 4

PREREQ: CWR1000 Or CWR1010 Or CWR1100

Department: Creative Writing
CWR 3220: Editing and Production Workshop: Production

Through hands-on collaboration, students apply their editing skills to the production of the creative writing program¹s literary journal, Italics Mine. From shaping manuscripts to layout and design, marketing, and public relations, students work as editors on the publication of the journal.

Credits: 4

PREREQ: CWR3215

Department: Creative Writing
CWR 3400: Poetry Writing II

This course assumes that students have a good command of basic poetic craft. Writing assignments put increased emphasis on students’ own work, though there are still exercises to guide the workshop, as well as study and discussion of poetry by established writers.

Credits: 4

PREREQ: CWR2400

Department: Creative Writing
CWR 3430: The Importance of Tone in Constructing a Poem

How does a poet’s attitude or stance towards her or his subject create tone or voice in a poem? In this workshop, students read and analyze a range of poetry to understand the linguistic and syntactic underpinnings of tone, including its relationship to line break and simile. Poets include Louise Gluck, Marie Howe, Billy Collins, Tony Hoagland, Jane Kenyon, Brenda Hillman, Eamon Grennan, W.H. Auden, Elizabeth Bishop, and T.S. Eliot.

Credits: 4

PREREQ: CWR2400

Department: Creative Writing
CWR 3450: Poets at Work: First Books

Students interact with contemporary poets who have recently published their first poetry book or chapbook. Most classes are structured as a brief reading by and discussion with visiting authors. Topics include each author’s influences, how one assembles a collection, how manuscripts evolve over time, and the editorial/publishing process. Students read each poet’s collection and compose critical and creative responses.

Credits: 3

PREREQ: CWR1000

Department: Creative Writing
CWR 3500: Fiction Writing II

This course assumes a working knowledge of the craft. Students write and discuss short stories or chapters from a novel in progress, and continue to refine their critiquing skills through discussion of their own work as well as published stories. Revision of submitted work is an important component of this course.

Credits: 4

PREREQ: CWR2500

Department: Creative Writing
CWR 4000: Special Topics in Creative Writing

A series of mini-workshops, guest speakers, and activities focused on current trends in the field and on broader topics germane to students in their senior year.

Credits: 3

PREREQ: CWR3400 Or CWR3500 Or CWR3200 Or CWR3200

Department: Creative Writing
CWR 4510: Advanced Seminar in Fiction Writing

Taught by a well-published writer-in-residence. Students work intensively on revising and editing their own work and each other’s fiction, as well as on critiquing published stories and novels. The course also familiarizes students with the professional writer’s market and the submission process, in order to encourage each student to prepare at least one story for possible publication.

Credits: 4

PREREQ: CWR3200 Or CWR3500

Department: Creative Writing
CWR 4511: Advanced Seminar in Poetry Writing

Advanced students with practiced skills in poetry writing and criticism work to produce poems of publishable stature. Students should be able to assume full responsibility for their creative process in this course.

Credits: 4

PREREQ: CWR3400

Department: Creative Writing
CWR 4515: Building Stories

This course explores stories that employ alternative forms of narrative design (i.e. non-linear, episodic, parallel, multiple point-of-view) to establish form—the pattern of a story’s assembly, its arrangement and structure. Writers often think of plot as defining structure in a story. However, craft elements like point of view, tone, time, place etc. when employed structurally, can achieve meaning and design.

Credits: 4

Department: Creative Writing

English as an Additional Language

https://www.purchase.edu/academics/continuing-education/international-institute/explorations-in-american-life-and-language/about/

Important Information for Au Pairs

Weekday Courses

20 hoursor 24 hours toward your U.S. government education requirement.

  • 20 hours (20 hours = 1.5 - 1.7 non-academic credits) Attendance, participation, completion of assignments as directed.
    Tuition: $180*
  • 24 hours (24 hours = 1.8 - 2.0 non-academic credits). In addition to the 20 hour course requirements, an expansion assignment, as directed by the course instructor, must be completed to receive an additional 4 hours.  Please note: Students may register for a 20 hour course and, upon payment of the tuition difference, transfer to 24 hours anytime within the same semester. (A course expansion assignment must be completed as directed.)
    Tuition: $216*

* TOEFL Prep course. Tuition: 20hrs: $205; 24hrs: $240.

Weekend Courses  (Saturday/Sunday) 

20 hours30 hours, or40 hours toward your U.S. government education requirement. All 20 hour, 30 hour, and 40 hours students MUST complete the 20 hour requirements. Please note: No partial hours are awarded. 

  • 20 hours (20 hours = 1.5 - 1.7 non-academic credits)
    pre-assignment is due 9 a.m. on the first day of the course unless otherwise stated and 100% attendance on Saturday and Sunday (9 a.m.–5 p.m.) is required. 
    Tuition: $180
  • 30 hours (30 hours = 2.3 - 2.5 non-academic credits):
    In addition to the 20 hour requirements, a post-assignment is due (a 2 1/2 - 3 page paper, or equivalent as assigned, based on course content) within 30 days of course completion.
    Tuition: $265
  • 40 hours (40 hours = 3.0 - 3.3 non-academic credits)
    In addition to the 20 hour requirements, a post-assignment is due (a 5–7 page paper, or equivalent as assigned, based on course content) within 30 days of course completion. 
    Tuition: $345

Please check with your au pair agency for exact information about required hours and credits.

Certificates

  • 20 hours: A certificate is presented at the end of the last class meeting. (Weekend classes: a certificate is presented at the end of the Sunday class.)
  • 24 hours: A certificate is presented at the end of the last class meeting or, for students who have changed from 20 to 24 hours after the course has ended, a certificate for the additional 4 hours will be awarded after the expansion activity has been submitted and accepted.
  • 30 hours: A certificate will be mailed after the post-assignment is received and accepted by the course faculty. Failure to submit an accepted post-assignment within the designated time will result in the loss of 10 hours. In that case, the certificate for 20 hours will be awarded if student has complied with all requirements for 20 hours credit.
  • 40 hours: A certificate will be emailed after the post-assignment is received and accepted by the course faculty. Failure to submit an accepted post-assignment within the designated time will result in the loss of 20 hours. In that case, the certificate for 20 hours will be awarded if student has complied with all requirements for 20 hours credit.

    Questions and Assistance

https://www.purchase.edu/academics/continuing-education/international-institute/explorations-in-american-life-and-language/courses/

Summer 2019 Session II (Weekday Courses)

Registration begins Monday, March 25

Academic Writing - starts Jul. 8
Develop clarity, correctness, and variety of style in written English through interactive peer activities and writing exercises. Improve structure of sentences, paragraphs, and essays as appropriate to level of proficiency. English language writing assessment administered prior to the start of class. Active participation and completion of assigned homework is required.

ELL 2055 / noncredit / $216 (24-hour section)
Instructor: TBA
Mon., Wed. & Thurs., 11:10 a.m. - 12:40 p.m.
July 8 - August 8 (15 sessions)
Location: TBA
Oral Communication - starts Jul. 8
Increase confidence, fluency, and comprehension in speaking and listening skills. Pair work, small group activities, and individual student presentations are employed in this intermediate level interactive class. Assessment of spoken English administered prior to the start of the course. Active participation and completion of assigned homework is required.

ELL 2041 / noncredit / $216 (24-hour section)
Instructor: TBA
Mon., Wed. & Thurs., 9:30 - 11:00 a.m.
July 8 - August 8 (15 sessions)
Location: TBA
Vocabulary Development - starts Jul. 9
Increase social and academic vocabulary including idiomatic expressions through the use of activities and materials that present vocabulary in context. Expectations include keeping a vocabulary notebook and active participation in classroom activities. Completion of assigned homework is required. Assessment of reading comprehension and vocabulary administered prior to class start.

ELL 2042 / noncredit / $180 (20-hour section), $216 (24-hour section)
Instructor: TBA
Tues. & Fri., 9:30 - 11:00 a.m.
July 9 - August 9 (10 sessions)
Location: TBA
Grammar - starts Jul. 9
Develop grammatical skills to communicate with clarity of expression in both oral and written communication. Practice proper grammatical structure in individual, pair and small group work. Improve all language skills through interactive reading, writing, and speaking exercises. Assessment of English language grammar proficiency administered prior to class start. Active participation and completion of assigned homework is required.This program was developed for J1 au pairs and adult non-native English speakers.

ELL 2056 / noncredit / $180 (20-hour section), $216 (24-hour section)
Instructor: TBA
Tues. & Fri., 11:10 a.m. - 12:40 p.m.
July 9 - August 9 (10 sessions)
Location: TBA

Summer 2019 Session II (Weekend Courses)

Registration begins Monday, March 25

*FULL* Business English: Sales Pitch Perfect - starts Jun. 22
Examine selling techniques for a variety of sales situations, such as business to business, business to consumer, phone, internet, and outside sales in this interactive course. Learn how to get past the gatekeepers and get in front of the decision makers, how to plan a territory, effective networking, creating the perfect sales pitch, and efficient time management.

ELL 1044 / noncredit / $180 (20-hour section), $265 (30-hour section), $345 (40-hour section)
Instructor: Elsalee Flynn
Sat. & Sun., 9:00 a.m. - 5:00 p.m.
June 22 & 23 (2 sessions)
Location: Social Sciences Building, room 1006
Vision Board - Seeing is Believing - starts Jul. 13
Set and create an inspirational picture of your goals through the creation of a Vision Board. Examine the research behind how setting, writing, and seeing tangible goals can expedite their achievement. Verbalize, organize, and visualize your short-term and long-term goals. Be guided through the process of creating your own Vision Board to keep, inspire, and grow with. Some materials required.

ELL 1065 / noncredit / $180 (20-hour section), $265 (30-hour section), $345 (40-hour section)
Instructor: Laura Katen
Sat. & Sun., 9:00 a.m. - 5:00 p.m.
July 13 & 14 (2 sessions)
Location: TBA
Millennials: A Unique Generation - starts Jul. 27
Explore key cross-generational differences that make millennials unique. Examine and discuss areas such as the role of women, technology, priorities/goals, work/life balance, external pressures, and generational expectations. Look to your future as we delve into pitfalls to avoid and strategies for success. As a millennial, bring your unique personal and cultural perspective to this lively topical course!

ELL 2012 / noncredit / $180 (20-hour section), $265 (30-hour section), $345 (40-hour section)
Instructor: Darren Hamilton
Sat. & Sun., 9:00 a.m. - 5:00 p.m.
July 27 & 28 (2 sessions)
Location: Humanities Building, room 1039

Fall 2019 Session I (Weekday Courses)

Registration begins Monday, July 15

It’s a Launch! Business Start Up—starts September 12

Your friends and family think your idea is wonderful—but is it business worthy? Examine the key business planning techniques that transform ideas into viable businesses. Through hands-on activities, explore concept evaluation, market analysis, financial backing, and new business legal requirements. Building on this information, learn how to create an effective start-up business plan.

ELL 1046 / noncredit / $180 (20-hour section), $216 (24-hour section)
Instructor: Elsalee Flynn
Monday and Thursday, 9:30–11:00 am
September 12–October 24 (13 sessions)
Music Building, room 0089A

Communication: Polished & Confident—starts September 12

Increase your confidence and accuracy in communicating in English through lively interactive in-class activities, discussions, and a review of a range of grammatical structures based on an assessment of student needs. Contemporary issues will be the basis for development of vocabulary and fluency for use in social and professional settings. Suitable for intermediate-level English speakers.

ELL 1042 / noncredit / $180 (20-hour section), $216 (24-hour section)
Instructor: TBA
Monday and Thursday, 11:10 am–12:40 pm
September 12–October 24 (13 sessions)
Music Building, room 0089A

Think Quick!—starts September 17

Use theatre and improv exercises to build skills needed in the professional world and social situations, i.e., thinking quickly and creatively, communicating clearly, collaborating with others, and presenting effectively. Join this engaging, informative and fun course, ideal for anyone in business, the arts, education, marketing, or any field where a creative approach can spell success.

ELL 2043 / noncredit / $180 (20-hour section), $216 (24-hour section)
Instructor: Linda Gelman
Tuesday, 9:30 am–12:30 pm
September 17–October 22 (6 sessions)
Music Building, room 0089A

Business English: Becoming a More Effective Leader—starts September 11

Expand your leadership skills, which are important whether you work at home or in a business setting. Review leadership models and identify your own preferences to become a more effective leader. Class discussions include how to adapt your leadership style to different situations, recognize and respond to different conflict styles, and understand different verbal and nonverbal cues when communicating with others.

ELL 1050 / noncredit / $180 (20-hour section), $216 (24-hour section)
Instructor: Cynthia Brosnan
Wednesday, 9:30 am–12:30 pm
September 11–October 23 (7 sessions)
Music Building, room 0089A

The Amazing 90’s—starts September 13

Enjoy a front row seat in an exploration of the culture of the 1990s—a decade that many critics call the best and happiest decade. This golden age of hip-hop, cult television, and movies left a lasting legacy. Revisit and discuss some of the unforgettable TV shows, films, music, slang, and fads in this interactive and lively course.

ELL 2020 / noncredit / $180 (20-hour section), $216 (24-hour section)
Instructor: Darren Hamilton
Friday, 9:30 am–12:30 pm
September 13–October 25 (7 sessions)
Music Building, room 0089A

Fall 2019 Session I (Weekend Courses)

Registration begins Monday, July 15

Intercultural Communication—starts September 14

Develop strategies for successful intercultural communication in professional and social settings. Examine and discuss the functional and practical components of communicative interactions and how processes differ among cultures. Through such activities as role playing, case studies, and analysis of videos and transcriptions, learn ways to creatively address intercultural challenges. Topics include socially appropriate ways to request, refuse, compliment, and hedge.

ELL 1001 / noncredit / $180 (20-hour section), $265 (30-hour section), $345 (40-hour section)
Instructor: Domenica Delprete
Saturday and Sunday, 9:00 am–5:00 pm
September 14–15 (2 sessions)
Music Building, room 0089A

Sales Pitch Perfect—starts September 28

Examine selling techniques for a variety of sales situations, such as business to business, business to consumer, phone, internet, and outside sales in this interactive course. Learn how to get past the gatekeepers and get in front of the decision makers, how to plan a territory, effective networking, creating the perfect sales pitch, and efficient time management.

ELL 1044 / noncredit / $180 (20-hour section), $265 (30-hour section), $345 (40-hour section)
Instructor: Elsalee Flynn
Saturday and Sunday, 9:00 am–5:00 pm
September 28–29 (2 sessions)
Music Building, room 0089A

Business English: Etiquette in the Professional Arena—starts October 19

Discover the do’s and taboos of workplace etiquette in the U.S. and globally. Learn to create a positive first impression in the office and professional social settings. Identify, discuss, and practice major business etiquette interactions, including introductions, greetings, networking, and small talk, and when at social events. Develop a strategy for building your professional image at home and abroad.

ELL 1005 / noncredit / $180 (20-hour section), $265 (30-hour section), $345 (40-hour section)
Instructor: Laura Katen
Saturday and Sunday, 9:00 am–5:00 pm
October 19–20 (2 sessions)
Music Building, room 0089A


Fall 2019 Session II (Weekday Courses)

Registration begins Monday, July 15

Strictly Business: Marketing—starts October 28

Create a marketing plan, calculate a marketing budget, and build successful branding. Explore the process of planning and exchange of ideas, goods, and services, from inception to consumption through creative activities. Gain an understanding of methods of market analysis together with marketing strategy and its implementation. Marketing from soup to nuts!

ELL 1041 / noncredit / $180 (20-hour section), $216 (24-hour section)
Instructor: Elsalee Flynn
Monday and Thursday, 9:30–11:00 am
October 28–December 12 (13 sessions)
Music Building, room 0089A

Create Your Own YouTube Channel—starts October 28

Want to start a YouTube channel? Wonder how YouTubers make money? Think you have engaging content, reviews, or tutorials people would want to watch? Create a channel, build a brand, and develop content. Learn how to market your channel to turn viewers into subscribers. Interactive and fun with real-life application.

ELL 1090 / noncredit / $180 (20-hour section), $216 (24-hour section)
Instructor: Elsalee Flynn
Monday and Thursday, 11:10 am–12:40 pm
October 28–December 12 (13 sessions)
Music Building, room 0089A

Idioms, Phrasal Verbs & Slang—starts October 28

Do you speak and understand English well but sometimes feel that you “can’t make heads or tails” of some Americans’ speech? Increase your vocabulary and understanding of American idioms, phrasal verbs, and slang in this course. A variety of materials is used to help students identify, clarify, learn, and practice the informal language of everyday American life.

ELL 1030 / noncredit / $180 (20-hour section), $216 (24-hour section)
Instructor: TBA
Monday and Thursday, 9:30 –11:00 am
October 28–December 12 (13 sessions)
Location TBA

Introduction to Spanish—starts October 28

Did you know that Spanish is the third most spoken language in the world? In this lively, interactive course, your knowledge of English will help you develop the vocabulary needed for real-world conversations in Spanish. At the end of the course, you will have the skills and knowledge to continue developing your Spanish language proficiency on your own.

ELL 1070 / noncredit / $180 (20-hour section), $216 (24-hour section)
Instructor: TBA
Monday and Thursday, 11:10 am–12:40 pm
October 28–December 12 (13 sessions)
Location TBA

Grammar & Confident Conversation—starts October 29

For intermediate-level students: Strengthen your grammar and conversation skills through a variety of stimulating activities that emphasize practical application to communication tasks, such as speaking and writing. Improve your grammar through interactive exercises that focus on challenging grammatical structures. Enhance your conversational ability and increase your vocabulary and listening comprehension through structured and open-ended activities, which may include videos, song lyrics, and both pair and group work.

ELL 1035 / noncredit / $180 (20-hour section), $216 (24-hour section)
Instructor: Olga Seham
Tuesday and Friday, 9:30 –11:00 am
October 29–December 13 (13 sessions)
Music Building, room 0089A

Think Quick!—starts October 29

Use theatre and improv exercises to build skills needed in the professional world and social situations, i.e., thinking quickly and creatively, communicating clearly, collaborating with others, and presenting effectively. Join this engaging, informative and fun course, ideal for anyone in business, the arts, education, marketing, or any field where a creative approach can spell success.

ELL 2043 / noncredit / $180 (20-hour section), $216 (24-hour section)
Instructor: Linda Gelman
Tuesday, 9:30 am–12:30 pm
October 29–December 10 (7 sessions)
Location TBA

Advanced English Communication for the Professional—starts October 29

Advanced students: Challenge yourself to elevate your overall English language proficiency to the high standards needed for success in a variety of professional settings. Current topics of general interest such as psychology, education, the arts, and business will form the basis for participatory activities. Final project is a written and oral presentation on a topic of personal interest.

ELL 2060 / noncredit / $180 (20-hour section), $216 (24-hour section)
Instructor: Deborah Cooper
Tuesday, 9:30 am–12:30 pm
October 29–December 10 (7 sessions)
Location TBA

Business English: Understanding Communication Style Preferences—starts October 30

Improve your ability to communicate effectively at work and at home! Learn about different communication style preferences, which will help improve your understanding of yourself and others. Examine communication preferences, such as how to gather information, make decisions, and manage time. Discover how recognizing differences in communication styles can help you to overcome conflicts and communicate with ease and grace.

ELL 1000 / noncredit / $180 (20-hour section), $216 (24-hour section)
Instructor: Cynthia Brosnan
Wednesday, 9:30 am–12:30 pm
October 30–December 11 (7 sessions)
Music Building, room 0089A

TOEFL Preparation—starts October 30

Learn test-taking strategies. Build your English language skills relevant for all sections of the paper-based TOEFL ITP – listening, structure and written expression, and reading comprehension. Boost your test-taking confidence. Increase familiarity and effective time management through frequent practice of exam sections and sample questions. Students will take the ITP at the last class meeting. Required text. Individual score letter issued.

ELL 3000 / noncredit / $205 (20-hour section), $240 (24-hour section)
Instructor: Deborah Cooper
Wednesday, 9:30 am–12:30 pm
October 30–December 11 (7 sessions)
Music Building, room 0089A

Business English: Consumer Psychology—starts November 1

Explore the underlying mechanisms that shape consumer behavior, linking experimental psychology, sociology, and marketing. Examine and discuss the impact of triggers on consumer choice; social networks as channels of influence; the social influence of convergence and divergence; the consumer decision-making process; why products, ideas, and behaviors become popular; and rules to make ideas stick.

ELL 2010 / noncredit / $180 (20-hour section), $216 (24-hour section)
Instructor: Darren Hamilton
Friday, 9:30 am–12:30 pm
November 1–December 13 (6 sessions)
Location TBA

Fall 2019 Session II (Weekend Courses)

Registration begins Monday, July 15

Vision Board-Seeing is Believing—starts November 2

Set and create an inspirational picture of your goals through the creation of a Vision Board. Examine the research behind how setting, writing, and seeing tangible goals can expedite their achievement. Verbalize, organize, and visualize your short-term and long-term goals. Be guided through the process of creating your own Vision Board to keep, inspire, and grow with. Some materials required.

ELL 1065 / noncredit / $180 (20-hour section), $265 (30-hour section), $345 (40-hour section)
Instructor: Laura Katen
Saturday and Sunday, 9:00 am–5:00 pm
November 2–3 (2 sessions)
Music Building, room 0089A

Business English: Personal Brand-Polished & Professional—starts November 16

Obtain the skills needed to appear polished and professional, make a positive impression, and be taken seriously in the workplace and personal life in this interactive course. Explore how personal brand, including both verbal and nonverbal communication, creates positive or negative impressions that have an impact on the opportunities you receive. Prepare for success as a poised, polished, professional you!

ELL 2011 / noncredit / $180 (20-hour section), $265 (30-hour section), $345 (40-hour section)
Instructor: Laura Katen
Saturday and Sunday, 9:00 am–5:00 pm
November 16–17 (2 sessions)
Music Building, room 0089A

Social Media: Societal Erosion or Explosion?—starts December 7

For better or for worse? View selections from mass media to examine people’s growing dependency on social media. Explore the lines between the real world and the virtual world. Analyze, discuss, and debate this phenomenon and its effects on society. Bring your real life experiences and opinions to this sweeping look at the role of social media in today’s world.

ELL 1016 / noncredit / $180 (20-hour section), $265 (30-hour section), $345 (40-hour section)
Instructor: TBA
Saturday and Sunday, 9:00 am–5:00 pm
December 7–8 (2 sessions)
Music Building, room 0089A

Junk Food-Only in America?—starts December 14

Junk food–only in America? The same or similar in your home country? Does food in the U.S., even bread and cheese, taste different than at home? Your opinion matters as we highlight and examine the quality, lifespan, ingredients, taste, and branding of food items in your home countries, and compare them to those same items in the U.S.

ELL 2003 / noncredit / $180 (20-hour section), $265 (30-hour section), $345 (40-hour section)
Instructor: Darren Hamilton
Saturday and Sunday, 9:00 am–5:00 pm
December 14–15 (2 sessions)
Music Building, room 0089A


All Courses—Designed for J1 au pairs and adult non-native English speakers

Please scroll up for current course information.

ELL 1000: Business English: Understanding Communication Style Preferences

Improve your ability to communicate effectively at work and at home! Learn about different communication style preferences, which will help improve your understanding of yourself and others. Examine communication preferences, such as how to gather information, make decisions, and manage time. Discover how recognizing differences in communication styles can help you to overcome conflicts and communicate with ease and grace.

Credits: 0

Department: Continuing Education and Youth
ELL 1001: Intercultural Communication

Develop strategies for successful intercultural communication in professional and social settings. Examine and discuss the functional and practical components of communicative interactions and how processes differ among cultures. Through such activities as role playing, case studies, and analysis of videos and transcriptions, learn ways to creatively address intercultural challenges. Topics include socially appropriate ways to request, refuse, compliment, and hedge.

Credits: 0

Department: Continuing Education and Youth
ELL 1004: Freedom of the Press: Why It Matters

In the U.S. and worldwide, a new report found that “amid unprecedented threats to journalists and media outlets,” global press freedom has declined to its lowest point in 13 years. Explore the concept of freedom of the press, debate its merits, and discuss real life examples. Bring your experience and opinions to this interactive, lively conversation about this timely topic.

Credits: 0

Department: Continuing Education and Youth
ELL 1005: Business English: Etiquette in the Professional Arena

Discover the do’s and taboos of workplace etiquette in the U.S. and globally. Learn to create a positive first impression in the office and professional social settings. Identify, discuss, and practice major business etiquette interactions, including introductions, greetings, networking, and small talk, and when at social events. Develop a strategy for building your professional image at home and abroad.

Credits: 0

Department: Continuing Education and Youth
ELL 1006: Social Etiquette for Business and Beyond: Dining Do’s and Don’ts

Avoid an embarrassing faux pas by learning the essential tips for American dining etiquette. Increase your global awareness and sophistication through lively discussions of the cultural norms related to social etiquette in your classmates’ native countries. Practice navigating food, drink, and conversation in business and social settings, including cocktail party etiquette, networking, and buffet and sit-down dining. Learn to wine and dine with confidence in this interactive, engaging, and useful course!

Credits: 0

Department: Continuing Education and Youth
ELL 1009: Celebrity Worship: Enduring Craze of Fleeting Phase?

Explore the contemporary fascination with celebrity that crosses generations and national boundaries. How does this obsession with music and film icons, sports heroes, famous politicians, and “fat cat” entrepreneurs affect us all on a larger scale? Short-lived craze or long-term cultural change? For better or for worse? Examine this phenomenon through thought-provoking discussions, multimedia presentations, and communicative activities.

Credits: 0

Department: Continuing Education and Youth
ELL 1010: American Pop Culture

Examine five decades of pop culture, including music, movies, TV, fashion, advertising, sports, and cyber-culture, and track their changes over the last 50 years. Learn about the days when hula hoops, hip-huggers, and grunge were all the rage. Explore the origins of such musical genres as rock ’n’ roll, disco, punk, heavy metal, hip-hop, and rap.

Credits: 0

Department: Continuing Education and Youth
ELL 1011: Women and Power in America and the World

What is power? How have women struggled to gain power—political, social, physical—in America and in other countries? What victories have women won, and what victories are still in the future for the young women of today? Explore these questions and more through movies, music, readings, and discussions.

Credits: 0

Department: Continuing Education and Youth
ELL 1015: Digitally Speaking: Introduction to Internet Marketing

Explore digital marketing, the arena where marketing meets the internet, wireless devices, and other digital media. Examine online advertising, search engine optimization, participation in social media, and the analytics of web and social media. Develop the ability to design, implement, and evaluate digital marketing strategies through a combination of lecture, case studies, hands-on exercises, and mini-course projects.

Credits: 0

Department: Continuing Education and Youth
ELL 1016: Social Media: Societal Erosion or Explosion?

For better or for worse? View selections from mass media to examine people’s growing dependency on social media. Explore the lines between the real world and the virtual world. Analyze, discuss, and debate this phenomenon and its effects on society. Bring your real life experiences and opinions to this sweeping look at the role of social media in today’s world.

Credits: 0

Department: Continuing Education and Youth
ELL 1017: Artists, Their Art, Your Virtual Exhibit

Explore examples of various genres of contemporary and late modern art. Delve into and discover or expand your knowledge of remarkable artists and their intriguing artworks. Exchange ideas, opinions, and insights through discussions and other activities. Create and present your own virtual art “exhibition” with script and accompanying audio tour. Delight the artist in you with this informative, engaging course!

Credits: 0

Department: Continuing Education and Youth
ELL 1018: Digital Imaging

In this hands-on course, students obtain the basic skills needed to effectively manipulate a digital image and use the computer as a tool for visual art. Examine digital art concepts and discuss examples of digital media in contemporary art. Learn painting and drawing techniques, photo retouching and photomontage through the exploration of various Adobe Photoshop tools. Interactive, fun, and useful!

Credits: 0

Department: Continuing Education and Youth
ELL 1020: Cross-Cultural Management

Explore cultural differences in values and norms, drawing on the latest research. Learn strategies to adapt your behavior in unfamiliar cultural settings and thrive in any business environment. Topics include the challenges of working in multicultural groups, motivation and leadership across cultures, and the fundamentals of decision making and negotiating in cross-cultural interaction.

Credits: 0

Department: Continuing Education and Youth
ELL 1021: Peace, Justice, and Sustainability

As citizens of the world and consumers of the earth’s riches, students will have the opportunity to study and analyze keys to a peaceful, sustainable, and just global community. The Earth Charter and the Declaration of Human Rights will provide the basis for thoughtful reflection and lively discussion. From the global to the personal, learn to problem solve using nonviolent conflict-resolution techniques.

Credits: 0

Department: Continuing Education and Youth
ELL 1022: New York City: Faces and Places

An in-depth look at the many faces, cultures, and neighborhoods that makes New York City one of the most unique, dynamic, and diverse cities in the world. Look beyond the usual tourist attractions to discover new and different places to eat, drink, play, stroll, and explore in “the city that never sleeps.” Make your New York City experience as exciting as the city itself!

Credits: 0

Department: Continuing Education and Youth
ELL 1023: Modern Storytelling

Explore various means of modern storytelling. Learn about effective visual communication using appropriate shot composition, storyboarding, and editing workflow. Through hands-on activities, learn how to create and share stories using such vehicles as videos, podcasts, photo essays, and creative writing. Enjoy this opportunity to share and express your creativity in a captivating, modern way.

Credits: 0

Department: Continuing Education and Youth
ELL 1025: Grounded for Life: Mind and Body Psychology

Are there times when your life and the world around you seem especially challenging? The foundation of a well-managed and balanced life can be created through essential building blocks of self-awareness and self-regulation. Explore mind/body tools, including biofeedback and relaxation techniques, and examine the basic principles of health psychology. Journey toward achieving regulated self-care that enables optimal performance, both personal and professional.

Credits: 0

Department: Continuing Education and Youth
ELL 1030: Idioms, Phrasal Verbs, and Slang

Do you speak and understand English well but sometimes feel that you “can’t make heads or tails” of some Americans’ speech? Increase your vocabulary and understanding of American idioms, phrasal verbs, and slang in this course. A variety of materials is used to help students identify, clarify, learn, and practice the informal language of everyday American life.

Credits: 0

Department: Continuing Education and Youth
ELL 1035: Great Grammar and Confident Conversation

For intermediate-level students: Strengthen your grammar and conversation skills through a variety of stimulating activities that emphasize practical application to communication tasks, such as speaking and writing. Improve your grammar through interactive exercises that focus on challenging grammatical structures. Enhance your conversational ability and increase your vocabulary and listening comprehension through structured and open-ended activities, which may include videos, song lyrics, and both pair and group work.

Credits: 0

Department: Continuing Education and Youth
ELL 1037: Say and Write What You Mean

Know what you’d like to say, but can’t find the right words? Expand your working vocabulary for use in everyday situations and relevant content areas. Communication activities and a variety of materials add interest to the acquisition of target vocabulary. Frequent short writings and presentations strengthen understanding and use of new vocabulary. Great for intermediate-level English speakers!

Credits: 0

Department: Continuing Education and Youth
ELL 1039: Business Speak

Are you eager to refine and perfect your business communication skills? This course will help you to enhance your listening skills, overcome nervous energy in workplace settings and speak with elegance, thoughtfulness and professionalism. Class discussions will cover a wide range of topics, including understanding how to improve your speaking, presentation and listening skills – all critical aspects of communicating effectively.

Credits: 0

Department: Continuing Education and Youth
ELL 1040: Business Communication

Develop your oral and written communication skills for a business or workplace setting. Focus on enhancing your competency in holding productive professional conversations; writing effective business messages; and applying successfully for professional positions, including creating job application packages and polishing interviewing skills.

Credits: 0

Department: Continuing Education and Youth
ELL 1041: Strictly Business: Marketing

Create a marketing plan, calculate a marketing budget, and build successful branding. Explore the process of planning and exchange of ideas, goods, and services, from inception to consumption through creative activities. Gain an understanding of methods of market analysis together with marketing strategy and its implementation. Marketing from soup to nuts!

Credits: 0

Department: Continuing Education and Youth
ELL 1042: Communication: Polished and Confident I

For intermediate level students: Increase your confidence and accuracy in communicating in English through lively interactive in-class activities, discussions, and a review of a range of grammatical structures based on an assessment of student needs. Contemporary issues will be the basis for development of vocabulary and fluency for use in social and professional settings.

Credits: 0

Department: Continuing Education and Youth
ELL 1043: Communication: Polished and Confident II

Continue to increase your confidence and accuracy in communicating in English through additional interactive in-class activities, discussions, and a review of a range of grammatical structures based on an assessment of student needs. Contemporary issues will be the basis for development of vocabulary and fluency for use in social and professional settings. If you are a high intermediate to advanced English speaker, this course is for you!

Credits: 0

Department: Continuing Education and Youth
ELL 1044: Business English: Sales Pitch Perfect

Examine selling techniques for a variety of sales situations, such as business to business, business to consumer, phone, internet, and outside sales in this interactive course. Learn how to get past the gatekeepers and get in front of the decision makers, how to plan a territory, effective networking, creating the perfect sales pitch, and efficient time management.

Credits: 0

Department: Continuing Education and Youth
ELL 1045: Business English: Career Management Strategies

Thinking about choosing a career, hunting for your dream job, or changing jobs? Increase self-awareness of your natural interests, analyze your preferences, assess your marketable skills, and polish (or create) your résumé. Through class discussions, gain an understanding of the job search process and its critical aspects, prepare for the interview, and grasp their relationship to landing a satisfying career.

Credits: 0

Department: Continuing Education and Youth
ELL 1046: It’s a Launch! Business Start-up

Your friends and family think your idea is wonderful—but is it business worthy? Examine the key business planning techniques that transform ideas into viable businesses. Through hands-on activities, explore concept evaluation, market analysis, financial backing, and new business legal requirements. Building on this information, learn how to create an effective start-up business plan.

Credits: 0

Department: Continuing Education and Youth
ELL 1047: Write On! Getting Published

From blogs to articles to full blown novels and everything in between, examine the techniques of writing to get published. Learn how to create your hook, build believable worlds and characters, research stories, and engage readers. Through practice, expand your understanding of the building blocks of the business of writing, from the idea to publication on all media platforms.

Credits: 0

Department: Continuing Education and Youth
ELL 1050: Business English: Becoming a More Effective Leader

Expand your leadership skills, which are important whether you work at home or in a business setting. Review leadership models and identify your own preferences to become a more effective leader. Class discussions include how to adapt your leadership style to different situations, recognize and respond to different conflict styles, and understand different verbal and nonverbal cues when communicating with others.

Credits: 0

Department: Continuing Education and Youth
ELL 1055: Business English: Prepare Like a Professional—Job Search Essentials

Examine and explore the key strategies of preparing for and embarking on a successful job search. Topics discussed and practiced include employment goals, cover letters, résumé writing, compiling references, interview techniques, essentials of follow-up, and email etiquette. Hands-on, interactive, practical, and fun, this course provides the information and practice to put your best job-search foot forward.

Credits: 0

Department: Continuing Education and Youth
ELL 1060: Documentary Photography

Explore different documentary photography styles, forms, and content. Examine various photographic techniques and their effect on pop culture throughout history. Through image-based lectures and hands-on shooting assignments, learn the basic principles of documentary photography. Delve into and discuss examples of photography that spark your interest. Build a foundation that will sharpen your visual and critical skills.

Credits: 0

Department: Continuing Education and Youth
ELL 1065: Vision Board – Seeing is Believing

Set and create an inspirational picture of your goals through the creation of a Vision Board. Examine the research behind how setting, writing, and seeing tangible goals can expedite their achievement. Verbalize, organize, and visualize your short-term and long-term goals. Be guided through the process of creating your own Vision Board to keep, inspire, and grow with. Some materials required.

Credits: 0

Department: Continuing Education and Youth
ELL 1070: Introduction to Spanish

Did you know that Spanish is the third most spoken language in the world? In this lively, interactive course, your knowledge of English will help you develop the vocabulary needed for real-world conversations in Spanish. At the end of the course, you will have the skills and knowledge to continue developing your Spanish language proficiency on your own.

Credits: 0

Department: Continuing Education and Youth
ELL 1075: Adventures in Travel: The Road Less Traveled

Castles in Romania, medinas in Morocco, caves in Mexico, hutongs in China, coffee farms in Colombia, vineyards in California – just some of the fascinating places you’ll discover in this exploration of cool travel destinations. Through a variety of materials and communicative activities take a virtual one-of-a- kind vacation away from the usual tourist attractions. Maybe even plan a future trip!

Credits: 0

Department: Continuing Education and Youth
ELL 1080: Winning Strategies for Workplace Success

Challenges: difficult, unexpected, or uncomfortable situations. You’ve managed them in everyday life. But, are you familiar with common challenges in professional life? Are you prepared with the tools to overcome challenges at the start and as you move ahead in a career? Explore and discuss successful strategies to keep your career on an upward path in today’s competitive professional world.

Credits: 0

Department: Continuing Education and Youth
ELL 1085: Music & Movies: Beyond the Mainstream

Beyoncé, Adele, Harry Potter, Star Wars – like them or not, they’re probably familiar to you. Through a combination of videos, movie clips and audio tracks, explore and discover the lesser known world of independent music and movies. In this interactive course, your eyes and ears will be opened to new interesting, exciting and different viewing and listening possibilities.

Credits: 0

Department: Continuing Education and Youth
ELL 1090: Create Your Own YouTube Channel

Want to start a YouTube channel? Wonder how YouTubers make money? Think you have engaging content, reviews, or tutorials people would want to watch? Create a channel, build a brand, and develop content. Learn how to market your channel to turn viewers into subscribers. Interactive and fun with real-life application

Credits: 0

Department: Continuing Education and Youth
ELL 2000: American Film: Triumph Over Adversity

View and discuss critically acclaimed movies and documentaries about the power of the human spirit to overcome adversity. These films will motivate and inspire through discussions about stretching beyond what seems possible, realizing one’s potential, overcoming personal challenges, learning from setbacks, and developing resilience.

Credits: 0

Department: Continuing Education and Youth
ELL 2001: Education in America: Fact and Fiction Through Film

Was your opinion about education in the U.S. positive or negative before you arrived here? Have your views changed since then? Share your perspective with your classmates and experience new ones as you view critically acclaimed movies and documentaries about American schools. Participate in lively discussions while getting the inside scoop on college education and life in the U.S.

Credits: 0

Department: Continuing Education and Youth
ELL 2002: Psychology and Ethics in Professional Life

“Just do it!” Is this always the appropriate way to handle decision-making? The moral barometer of an individual or society may be measured by how one behaves when no one is watching. Can balancing economic considerations with social considerations ever be done fairly? Come join us in lively discussion as we explore decision making in life, business and careers.

Credits: 0

Department: Continuing Education and Youth
ELL 2003: Pop Tarts - Only in America?

Pop Tarts – only in America? The same or similar in your home country? Does food in the U.S., even bread and cheese, taste different than at home? Your opinion matters as we highlight and examine the quality, lifespan, ingredients, taste, and branding of food items in your home countries, and compare them to those same items in the U.S.

Credits: 0

Department: Continuing Education and Youth
ELL 2004: Consumer Psychology: Personal Perspectives

Did your last purchase make you happy? Impulsive or planned for – was there any difference in your feelings after purchase? Take a “deeper dive” into consumer psychology and the physiological effects on the brain. Bring your own personal perspective as we explore, discuss, and discover why we feel a sense of happiness, reward, or even regret after a purchase.

Credits: 0

Department: Continuing Education and Youth
ELL 2005: Love and Romance in Film and Literature

From the classic to the contemporary, from book to film, love makes the world go ’round. Through a variety of communication activities, explore the timeless romance of such star-crossed lovers as Romeo and Juliet, Bella and Edward, Gatsby and Daisy, Peeta and Katniss. Analyze, discuss, and perhaps even fall in love with fascinating couples across different genres of film and text.

Credits: 0

Department: Continuing Education and Youth
ELL 2006: Human Resource Management

The primary asset of any organization is its people! In this #MeToo, multi-cultural, multi-generational era, the success of an organization depends upon attracting, recruiting, developing, and retaining a productive work force. Explore and discuss, diversity, creativity, gender, health, safety, and other current workplace issues. Share your individual cultural experiences in this beautiful mosaic now known as the global economy.

Credits: 0

Department: Continuing Education and Youth
ELL 2007: Food for Thought: Cultural Flavors

“Move as far as you can, as much as you can. Across the ocean, or simply across the river. Walk in someone else’s shoes or at least eat their food.”* Discover many of those foods, explore the intersection of food and culture, and connect with people near and far, through the global language of food. Join this fun informative feast!*Anthony Bourdain

Credits: 0

Department: Continuing Education and Youth
ELL 2008: Organizing for Productivity: All the Sorted Details

Ever wonder where your day has gone? Do you feel like you’re working really hard with little result? Do you spend too much time searching through clutter? In this class you will gain a solid foundation in basic organizing theory. Learn core concepts behind categorizing, sorting, purging and the fundamentals of time management, space and digital organization for optimum productivity.

Credits: 0

Department: Continuing Education and Youth
ELL 2009: Introduction to American Advertising

Advertising campaigns –the ‘make or break’ factor of marketing a product or service. Through collaborative activities, explore and practice the essentials of an effective ad campaign. Create a story board and examine the basics of a compelling ad campaign ‘pitch’ for a service or product of your choosing. Present your campaign for valuable feedback. Interactive and fun, with real-life application.

Credits: 0

Department: Continuing Education and Youth
ELL 2010: Business English: Consumer Psychology

Explore the underlying mechanisms that shape consumer behavior, linking experimental psychology, sociology, and marketing. Examine and discuss the impact of triggers on consumer choice; social networks as channels of influence; the social influence of convergence and divergence; the consumer decision-making process; why products, ideas, and behaviors become popular; and rules to make ideas stick.

Credits: 0

Department: Continuing Education and Youth
ELL 2011: Business English: Personal Brand—Professional and Polished

Obtain the skills needed to appear polished and professional, make a positive impression, and be taken seriously in the workplace and personal life in this interactive course. Explore how personal brand, including both verbal and nonverbal communication, creates positive or negative impressions that have an impact on the opportunities you receive. Prepare for success as a poised, polished, professional you!

Credits: 0

Department: Continuing Education and Youth
ELL 2012: Millennials: A Unique Generation

Explore key cross-generational differences that make millennials unique. Examine and discuss areas such as the role of women, technology, priorities/goals, work/life balance, external pressures, and generational expectations. Look to your future as we delve into pitfalls to avoid and strategies for success. As a millennial, bring your unique personal and cultural perspective to this lively topical course!

Credits: 0

Department: Continuing Education and Youth
ELL 2020: The Amazing ’90s

Enjoy a front row seat in an exploration of the culture of the 1990s—a decade that many critics call the best and happiest decade. This golden age of hip-hop, cult television, and movies left a lasting legacy. Revisit and discuss some of the unforgettable TV shows, films, music, slang, and fads in this interactive and lively course.

Credits: 0

Department: Continuing Education and Youth
ELL 2030: Business English: Financial Fitness

Do you know where your money goes every month? Understand basic finances and money management, which are important to your personal well-being and career. Explore budgeting, savings and debt, credit card pros and cons, and basic stock market concepts in this interactive course, which focuses on what you must know to make smart financial choices to achieve your personal and career goals.

Credits: 0

Department: Continuing Education and Youth
ELL 2040: Interpersonal Communication

Examine and discuss core interpersonal skills, barriers to effective communication, and effective communication strategies for building interpersonal relations and working in teams. Topics may include persuasion and influencing skills, problem solving, negotiation skills, dealing with criticism, and body language.

Credits: 0

Department: Continuing Education and Youth
ELL 2041: Oral Communication

Increase confidence, fluency, and comprehension in speaking and listening skills. Pair work, small group activities, and individual student presentations are employed in this intermediate level interactive class. Assessment of spoken English administered prior to the start of the course. Active participation and completion of assigned homework is required.

Credits: 0

Department: Continuing Education and Youth
ELL 2042: Vocabulary Development

Increase social and academic vocabulary including idiomatic expressions through the use of activities and materials that present vocabulary in context. Expectations include keeping a vocabulary notebook and active participation in classroom activities. Completion of assigned homework is required. Assessment of reading comprehension and vocabulary administered prior to class start.

Credits: 0

Department: Continuing Education and Youth
ELL 2043: Think Quick!

Use theatre and improv exercises to build skills needed in the professional world and social situations, i.e., thinking quickly and creatively, communicating clearly, collaborating with others, and presenting effectively. Join this engaging, informative and fun course, ideal for anyone in business, the arts, education, marketing, or any field where a creative approach can spell success.

Credits: 0

Department: Continuing Education and Youth
ELL 2050: The Science of Happiness

Happiness is individual and often not easy to achieve. Identify key psychological, social, and biological factors in achieving happiness and examine research findings from the fields of neuroscience and positive psychology. Become familiar with the mental habits of happiness and learn some of the techniques for boosting well-being and fulfillment that can be applied to your daily life.

Credits: 0

Department: Continuing Education and Youth
ELL 2055: Academic Writing

Develop clarity, correctness, and variety of style in written English through interactive peer activities and writing exercises. Improve structure of sentences, paragraphs, and essays as appropriate to level of proficiency. English language writing assessment administered prior to the start of class. Active participation and completion of assigned homework is required.

Credits: 0

Department: Continuing Education and Youth
ELL 2056: Grammar

Develop grammatical skills to communicate with clarity of expression in both oral and written communication. Practice proper grammatical structure in individual, pair and small group work. Improve all language skills through interactive reading, writing, and speaking exercises. Assessment of English language grammar proficiency administered prior to class start. Active participation and completion of assigned homework is required.

Credits: 0

Department: Continuing Education and Youth
ELL 2060: Advanced English Communication for the Professional

Advanced students: Challenge yourself to elevate your overall English language proficiency to the high standards needed for success in a variety of professional settings. Current topics of general interest such as psychology, education, the arts, and business will form the basis for participatory activities. Final project is a written and oral presentation on a topic of personal interest.

Credits: 0

Department: Continuing Education and Youth
ELL 3000: TOEFL Preparation

Learn test-taking strategies. Build your English language skills relevant for all sections of the paper-based TOEFL ITP – listening, structure and written expression, and reading comprehension. Boost your test-taking confidence. Increase familiarity and effective time management through frequent practice of exam sections and sample questions. Students will take the ITP at the last class meeting. Required text. Individual score letter issued.

Credits: 0

Department: Continuing Education and Youth

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History

https://www.purchase.edu/academics/college-catalog/?program=History

Description:

The goal of the history major at Purchase College is to provide students with the intellectual foundation of a liberal arts education that is suitable for a wide variety of professions, including law, education, government, business, journalism, and public relations.

The history curriculum seeks to foster the development of a historical perspective on the forces and processes that have shaped and continue to shape our communities, our country, and the world at large.

In keeping with the cultural resources of our area and the special profile of Purchase, the history program has generally, though not exclusively, emphasized the social, intellectual, and cultural dimensions of the historical discipline.

  • Students may define their area of interest within the major in terms of nine broadly conceived areas.
  • When appropriate, students may also pursue topics of special interest through tutorials and directed independent studies, which may be arranged with individual instructors.
  • Coursework in the history program includes intensive writing and an emphasis on primary source material, which can range from government documents to diaries, novels, and films.

Requirements:

In addition to meeting general degree requirements, all history majors must complete seven history courses, plus a junior seminar and an 8-credit senior project (37–40 credits total):

  • The broad survey courses at the 2000 level serve as the foundation for more specialized work at the 3000 level.
  • All history majors are required to take the Junior History Seminar in the spring semester of their junior year. This course is open exclusively to history majors.
  • All history majors will be assigned a senior project advisor by the end of their junior year, and are required to register with this advisor for 4 credits of senior project (SPJ 4990/Senior Project I) in the fall of their senior year, and 4 more credits (SPJ 4991/Senior Project II) in the spring of their senior year.

 Areas of Interest

  • History majors normally take four or five elective courses that are clustered within an area of special interest to the student. At least three of these courses must be at the upper (3000–4000) level.
  • History majors must also take at least two or three elective history courses outside their area of interest. At least one of these must be at the upper (3000–4000) level.
  • The student’s area of interest within the major should be developed in consultation with a faculty advisor at the beginning of the junior year, and must be approved by the board of study. Normally, a student will select from among the following nine areas:
     
    1. American history
    2. Ancient and medieval history
    3. Asian studies
    4. Early modern history
    5. European history
    6. Jewish history
    7. Latin American history
    8. Modern history
    9. Women’s history

Summary of Academic Requirements

A total of seven history courses, plus the junior seminar and the 8-credit senior project:

  1. HIS —/Seven history courses as follows (25–28 credits):
    a. Four or five history courses in an area of interest (including three at the 3000–4000 level)
    b. Two or three history courses outside the area of interest (including one at the 3000–4000 level)
  2. HIS 3880/Junior History Seminar (spring semester, junior year): 4 credits
  3. SPJ 4990/Senior Project I: 4 credits
  4. SPJ 4991/Senior Project II: 4 credits

Minor requirements:

The minor in history is designed for students who wish to supplement coursework in another major with an array of history courses.

It is particularly suited for students who have an interest in one period or a specific area (for example, early modern or modern history; European, American, or Asian history).

Students interested in the minor should consult with the coordinator of the History Board of Study and complete an Application for a Program of Minor Study. They will then be assigned an appropriate advisor to help plan their minor program.

Academic Requirements for the Minor in History

At least five courses, three of which must be at the 3000 level or above.

Related Minors:

Asian Studies
Jewish Studies
Latin American Studies


Faculty

  • Assistant Professor of History
    • BA, University of Oxford (England)
    • MA, University of Sussex (England)
    • PhD, Yale University
  • Associate Professor of History
    • BA, St. Joseph’s University
    • MA, Fordham University
    • MPhil, PhD, Graduate Center, City University of New York
  • Professor of History
    • BA, Bryn Mawr College
    • MA, PhD, University of Chicago
  • Lecturer in History
    • BA, St. Joseph’s University
    • MTh, University of Edinburgh (Scotland)
    • MPhil, Fordham University
    • PhD, Fordham University
  • Assistant Professor of History
    • BA, Eastern Washington University
    • MA,PhD, University of California, Davis
  • Lecturer in History

    PhD, New York University

  • Lecturer in History
    • BA, International Studies College (Beijing, China)
    • MA, Shanghai Normal University
    • MA, University of Minnesota
  • Assistant Professor of History
    • BA, University of Buenos Aires (Argentina)
    • PhD, University of Maryland, College Park
  • Lecturer in History
    • BA, MA, Fordham University
    • PhD, Graduate Center, City University of New York
  • Associate Professor of Latin American History
    • BA, University of Buenos Aires (Argentina)
    • PhD, University of Maryland
  • Lecturer in History
    • BA, Sarah Lawrence College
    • MA, PhD, Columbia University
  • Professor of History
    • BA, Vassar College
    • PhD, University of Cambridge (England)
  • Professor of History
    • BA, Sun Yat-sen University (China)
    • MA, University of California, Los Angeles
    • PhD, New York University

Courses

CHI 1505: Chinese Culture and Social Life

Introduces various aspects of Chinese culture (e.g., values, customs, manners, and festivals) and discusses everyday life in contemporary Chinese society.

Credits: 3

Department: History
CIN 3005: Cinema and the Archive

An intensive focus on the intersection between cinema and history. Students examine the debates around cinema’s status as historical document, surveying different approaches to the relationship between cinematic formal traditions and social history. The course emphasizes the analysis of primary sources, such as reviews, posters, magazine and newspaper articles, personal correspondence, trade publications, and blogs.

Credits: 4

PREREQ: CIN1500 And CIN1510

Department: History
CIN 3245: Latin American Cinema

Drawing from the rich cinematography of Latin America, this course focuses on the interaction between film and culture in Latin America. Students discuss and analyze films in the context of sociopolitical events and aesthetic movements, with emphasis on the cultural perspective.

Credits: 4

PREREQ: CIN1500 And CIN1510

Department: History
CIN 3513: Film, History, and Trauma

Historical trauma has characterized the 20th century. Traumatic events return in unexpected forms, haunting communities and shaping both collective memory and mourning practices. Taking a comparative approach across national cinemas, this course analyzes the historical context, style, and narratives of films that circle around the question of trauma. The course covers German, Israeli, Chilean, Japanese, Russian, and American cinemas.

Credits: 4

Department: History
HIS 1010: Western Civilization I

The ancient world to the beginning of the modern world at 1500 AD: an amalgamation of Celtic, Jewish, Greek, Roman, and German historical traditions.

Credits: 4

Department: History
HIS 1020: Western Civilization II

A study of texts and events that have shaped Western society and culture since 1500.

Credits: 4

Department: History
HIS 1025: Archaeology: An Introduction

Combines a history of the discovery and excavation of famous archaeological sites worldwide with an introduction to archaeological methodology. Students explore the role that material culture plays in understanding social, political, and economic systems and examine the role of archaeologist as interpreter of the past.

Credits: 3

Department: History
HIS 1115: Eight Moments When History Mattered

Spotlights moments when history became the focus of wider social debate, including the trial of Adolf Eichmann, a trial involving Holocaust denier David Irving and an academic historian, and the debates that took place between historians concerning the invasion of Iraq. This course illustrates that, by reflecting on fundamental questions about history—how evidence is used, who has agency in history, how people make moral judgments—citizens are better equipped to confront contemporary political and social issues.

Credits: 4

Department: History
HIS 1200: Development of the United States I

Examines the history of the United States from European colonization and initial contact with Native Americans through the Civil War. Subjects include the diversity of settlement experiences; European-Native American relations; the development of slavery; the causes and consequences of the American Revolution; social, political, and cultural changes in the 18th and 19th centuries; the sectional crisis; and the significance of the Civil War.

Credits: 3

Department: History
HIS 1205: Development of the United States II

Examines the history of the United States from Reconstruction through the end of the 20th century. Subjects include changes in race and gender relations; industrialization, urbanization, and suburbanization; the emergence of new social and political movements; the impact of war on American institutions; and America’s rise to world power.

Credits: 3

Department: History
HIS 1400: Living in Early America

Students explore objects, behaviors, and ideas to learn about the daily lives and worldviews of three foundational early American cultures: Native American, African American, and European. This course draws heavily on visual and aural materials as well as artifacts to illustrate the ideas and physical realities that shaped early American art and architecture, music, food, landscapes, domestic interiors, family relationships, and pastimes.

Credits: 3

Department: History
HIS 1450: History-on-Hudson: History of the Hudson Valley Region

Dive into a more than 400-year study of “America’s First Great River.” Discover why, where, and how the Hudson River region has had—and continues to have—a vital role in shaping American history and society. The region’s history is examined through a selection of such themes as culture, exploration, art, literature, economics, industry, transportation, international relations, and the environment.

Credits: 4

Department: History
HIS 1600: Introduction to Latin American Studies

An introductory survey of the history of Latin America from colonial times to the present. Topics include geography, indigenous peoples, colonization and nation formation, society, politics, economy and culture of contemporary Latin America, and its place in today’s world.

Credits: 4

Department: History
HIS 1850: Special Topics in History

Topics in history to be determined each semester.

Credits: 3

Department: History
HIS 2005: Modern Latin America

Explores major social, cultural, economic, and political developments in Latin America from the period following the Wars of Independence to the present. The historical roots of such problems as racism, persistent poverty, and political repression are examined, focusing on “subaltern” groups (e.g., peasants, workers, women, and people of color).

Credits: 4

Department: History
HIS 2035: The Ancient Middle East

Explores the ancient civilizations of the Middle East, including those of Egypt, Israel, Syria, Lebanon, Iraq, and Iran. Students examine cultural, social, and political movements using texts as well as archaeology as sources.

Credits: 4

Department: History
HIS 2040: Jewish Culture and Civilization

Examines how early Jewish interactions with various cultures affected the development of Judaism. Interactions with Mesopotamian, Greek, Roman, Christian, and Muslim cultures are explored. Topics include conflicts with external powers, exile, and diaspora.

Credits: 4

Department: History
HIS 2120: Princes, Priests, and Peasants

A survey of the history of Europe in the Middle Ages (1000–1400). Topics include the expansion of the frontiers of European civilization, the changing forms of intellectual and religious life, and the growth of towns and trade.

Credits: 3

Department: History
HIS 2170: Colonial Latin America

An introductory survey of the history of the Spanish and Portuguese conquest and colonization of the Americas from 1450 to 1810, i.e., from the late preconquest period to the Latin American struggle for independence. Lectures, readings, and discussions provide an overview of the economic, political, social, and cultural dimensions of colonization.

Credits: 4

Department: History
HIS 2210: Renaissance and Reformation Europe

Examines the origins of modern Europe from the Renaissance in Italy through the Protestant Reformation and the age of religious wars, using both primary source readings and secondary historical scholarship.

Credits: 3

Department: History
HIS 2215: Latinos and Cities in the Americas

Focuses on the history of Latinos in urban centers across the U.S. and Latin America. Students explore how Latinos established and maintained distinctive social and cultural identities in the Americas. The historical definition of “Latinidad” is also discussed through the study of colonization, immigration, diaspora, globalization, and the history of the racialization of Latin American descendants.

Credits: 4

Department: History
HIS 2220: Rise of Modern Europe

Explores the political and social transformation of Europe between the religious wars of the 16th century and the French Revolution. Topics include the growth of commercial capitalism and the scientific revolution.

Credits: 3

Department: History
HIS 2250: Introduction to Asian Studies

Examines the history of Asia and its peoples’ interactions with each other and with other nations in the world, focusing on major issues in modern and contemporary times. Asian views and perspectives are introduced and discussed.

Credits: 3

Department: History
HIS 2260: Popular Music in America: Evolution and Revolution

The invention of sound recording in the late 1800s caused profound aesthetic transformations in music. This course surveys the many styles that have swept through American music—from parlor songs, ragtime, blues, and brass band through R&B, top 40, heavy metal, rap, and hip-hop—and discusses the roles of rural and urban musical centers. Using the last 125 years of technological innovation in recording, students analyze the more significant cultural changes that continue to reverberate throughout American society.

Credits: 4

Department: History
HIS 2285: Immigration and Migration in U.S. History

Explores migration and immigration from 1830 to the present. Major subjects include Native American removal and genocide, the intersection of migration and slavery, immigration exclusion, and race and the making of illegal immigration. Students examine long patterns of U.S. legislative policies alongside on-the-ground experiences and reactions to migration and immigration. The course concludes with an analysis of immigration in the post-9/11 era.

Credits: 4

Department: History
HIS 2300: Age of Revolutions

Covers European institutions, traditions, economies, geopolitical boundaries, and the essential social and intellectual framework of the mid-18th to the mid-19th century. Critical changes and events covered include the Industrial Revolution, the French Revolution, Napoleon, the revolutions of 1848, romanticism, nationalism, and communism. Readings consist of extensive primary source materials in addition to secondary works.

Credits: 4

Department: History
HIS 2320: First Peoples to European Contact: New World Archaeology

Focuses on the prehistory of the Americas from the first peoples through 1492, beginning with the Ice Age cultures of the New World and moving forward chronologically. South, Central, and North American cultures are examined, including the Olmec, Woodlands, and Mississippi Valley cultures, pueblo culture, and the Maya, Aztec, and Inca.

Credits: 4

Department: History
HIS 2330: The Atlantic World, 1450–1888

Explores the encounters and interactions of the major populations who lived on the landmasses rimming the Atlantic Ocean (native peoples, Africans, and Europeans) from 1450 to 1888. Topics include migration, religion, slaves and enslavement, lived lives and material culture, foodways and folkways, the age of revolutions, and the fight for abolition.

Credits: 4

Department: History
HIS 2420: 20th-Century Europe

How are we to understand the century that has just ended? This course examines the political, social, and ideological forces that have shaped Europe since World War I. Special attention is paid to the impact of war and revolution, economic change, the Nazi dictatorship, the Cold War and its demise, and the changing role of Europe in world affairs.

Credits: 3

Department: History
HIS 2461: The Sixties: Dreams and Dissent

In this examination of the turbulent decade of the 1960s, students explore key social, political, economic, and cultural issues of the era. Specific topics include various struggles for civil rights and social equality; the escalation of the U.S. presence in Vietnam; the sexual revolution; the vision and limitations of the Great Society; and the rise of the New Right.

Credits: 4

Department: History
HIS 2490: Women in America

Covers the experience of American women from colonial times to the 20th century, from political, social, religious, cultural, and economic points of view.

Credits: 4

Department: History
HIS 2540: Society and Culture in Modern Brazil

Covers the history of Brazil from independence to the present. During this period, Brazil has transformed from a colonial, agrarian, slave society to a predominantly urban, industrialized nation and an aspiring world power. Students explore slavery, racism, urban life, immigration and industrialization, changing gender roles, political repression and military rule, carnaval and popular culture.

Credits: 4

Department: History
HIS 2600: History of Modern Japan

An introduction to modern Japanese history, from the end of the Tokugawa period in the mid-19th century to the present. Japanese imperialism, Japan’s spectacular economic growth after World War II, and U.S.-Japanese relations are discussed.

Credits: 3

Department: History
HIS 2660: Expansion and Conflict: The U.S. in the 19th Century

A survey of social, economic, and political history from the ratification of the Constitution through the “crisis” of the 1890s. Topics include republicanism and competing visions of “America”; economic development and class conflict; slavery, the Civil War, and Reconstruction; continental expansion and the settlement of the West; and urbanization and the origins of consumer culture.

Credits: 3

Department: History
HIS 2770: Ancient Africa: History and Archaeology

Explores African civilizations from the ninth millennium BCE to the 16th century CE. The diverse regions of ancient Africa are studied using archaeology, written and oral history, linguistics, art, and science, following cultural development in simple societies, states, and empires. Ancient Africa is presented in global context in terms of past civilizations but also in modern scholarship, identity, and popular media.

Credits: 4

Department: History
HIS 2800: Ancient Greece and Rome

Covers the history and cultures of ancient Greece and Rome. Topics include Minoan and Mycenaean civilizations, classical antiquity, the Hellenistic period, Etruscan civilization, the Roman Republic, the Roman Empire, Roman interactions with neighbors, the birth of Christianity, and the early years of the Byzantine Empire. This course also addresses how to read primary sources, the historiography of antiquity, and how to use archaeological sources.

Credits: 4

Department: History
HIS 2815: Issues in the Study of the Holocaust

How was the Holocaust possible in the 20th century? This course responds to the question by examining specific issues: German anti-Semitism; Hitler’s rise to power; the genocide process; responses to Nazism and the news of the Holocaust in Jewish and international communities; resistance and collaboration; and theological and moral questions.

Credits: 4

Department: History
HIS 2820: Introduction to Chinese Arts and Culture

A survey of Chinese arts and culture that introduces approaches to and connoisseurship of painting, calligraphy, sculpture, gardens, and architecture in dynamic relation to dynastic changes, literati-scholar tradition, cosmological and aesthetic concepts, and influences of Taoism and Buddhism during the period 221 BC to 1950. Knowledge of Chinese language is not required or expected.

Credits: 3

Department: History
HIS 2825: Modern South Asian History

Investigates the fascinating and complex social, economic, cultural, and political history of South Asia, focusing primarily on the Mughal Empire, British colonial rule in India, and the contemporary nation-states of India and Pakistan. Course materials include introductory history texts, speeches, primary source documents, photographs, musical clips, recipes, short stories, and films.

Credits: 3

Department: History
HIS 2830: Modern East Asia

Examines the histories of China, Japan, and Korea from the disintegration of the traditional order through the transition to modern nation states. Asian views and perspectives are introduced and discussed.

Credits: 3

Department: History
HIS 2870: Judaism, Christianity, and Islam

Considers the profound influence Judaism, Christianity, and Islam have exerted on the social, cultural, and political history of the East and the West. This course examines the historical developments, tenets, and scriptures of the three religions.

Credits: 3

Department: History
HIS 3005: Representations of Latinos and Latinas in American Film, 1930–2000

Cinematic representations of Latinos and Latinas are explored as crucial elements in the configuration of “America” as a national community, taking into account key historical moments in the relationship between the United States and Latin America.

Credits: 4

Department: History
HIS 3027: History’s Places and Spaces: Museums, Movies, and Materials

Public history—history museums, historic houses and landscapes, objects, documentary films—reaches and educates millions of Americans. Students explore how these experiences evolve through time and take part in activities related to handling and interpreting the past. Hands-on learning projects and several off-campus lectures at local historic sites are a critical dimension of this course.

Credits: 4

Department: History
HIS 3045: Contemporary Europe

Examines European social, political, and cultural developments since the 1950s through history, sociology, literature, and film. Themes include the Cold War, the evolution of the Common Market, youth, women and feminism, consumerism, immigration and labor migration, national identity, attitudes towards America, and Germany and Eastern Europe since the collapse of the Soviet bloc.

Credits: 4

Department: History
HIS 3050: Colonial and Revolutionary America

Examines the founding and development of the British colonies in North America and the causes of the American Revolution. The course considers the political, social, religious, and institutional history of colonial America through 1783.

Credits: 4

Department: History
HIS 3065: History of Emotions in the West

In recent years, a growing number of cultural historians have taken inspiration from psychologists, anthropologists, and sociologists and explored whether emotions have a history and, in turn, make history. Studying diaries, memoirs, and personal letters alongside normative and public texts such as advice literature, scientific works, and court cases, students assess how shifting ideas and experiences of emotions have affected individuals¹ self-understandings and provoked wider social change.

Credits: 4

Department: History
HIS 3085: Cities and Citizenship in the Americas

Focuses on the relationship between cities, urban life, and form, and the construction of social and political rights in the Americas. The emphasis is on how cities and citizenship are mutually constituted historically, looking at ideas and policies that regulate the city, and how urbanites produce and consume urban space and claim their rights as citizens and urban residents.

Credits: 4

Department: History
HIS 3105: U.S. Foreign Relations Since 1898

Is the United States now, or has it ever been, an empire? Students explore this question and others as they examine diplomatic, political, economic, and cultural aspects of U.S. foreign relations since the Spanish American War in 1898. The lecture/discussion format draws upon fiction, films, and other images, as well as traditional historical writing.

Credits: 4

Department: History
HIS 3130: American History and Society Through Music

A narrative survey of U.S. history from the colonial period to the present through an exploration of its musical history. The course investigates America’s fundamental principles of politics, its primary social issues, and its wealth of aesthetic musical initiatives. Students examine the unity, diversity, originality, and adaptability of significant political, social, and musical institutions.

Credits: 4

Department: History
HIS 3145: Chinese Cinema and History

An overview of the development and tradition of Chinese cinema through representative screenings of important films from mainland China, Hong Kong, and Taiwan. Students gain a comprehensive understanding of the historical and political context(s) that informed the creation and reception of these films and learn critical scholarly terminology and historical issues related to the analysis of Chinese film.

Credits: 4

Department: History
HIS 3150: The Mediterranean Origins of Western Culture

Examines the main historical events in the Mediterranean area from late antiquity through the Renaissance. Judaism, Christianity, and Islam were born here, and the diverse peoples and cultures around its shores competed for intellectual and political dominance. These interactions resulted in the legacy of beliefs and institutions at the core of Western culture, including some issues still unresolved today.

Credits: 4

Department: History
HIS 3155: Religion, Heresy, and Witchcraft in Medieval and Early Modern Europe

An exploration of the relationships between orthodox religions and heretical sects in the medieval West and how heterodoxy evolved into the witch-craze of the early modern period. Questions of gender, spirituality, repression, and interpretation are examined in light of their effects on society and established religion. Focuses are on Islamic, Jewish, and Christian relations in medieval Europe; the development and perception of certain heretical sects; the discernment of saints and spirits; Protestant and Catholic Reformations; and the persecution of witches.

Credits: 4

Department: History
HIS 3165: War and Gender in 20th-Century Europe

Examines how war changed gender relations in 20th-century Europe. For instance, how did mobilization reinforce or undermine masculine and feminine norms? How did total wars that blurred the line between fighting front and home front challenge notions of chivalry and turn noncombatants into warriors of sorts? Did new job opportunities outweigh the trauma and grief suffered by women during wartime?

Credits: 4

Department: History
HIS 3180: British Culture and Society in the 20th Century

A team-taught course in British society and cultural development from World War I to the present, examined from the different perspectives of literature and history. Topics include war and social change, construction of class and gender, evolution of the state, intellectuals and politics, popular culture since 1945, feminism, and immigration and race. Readings in history and the works of such authors as Virginia Woolf are complemented by the viewing of films.

Credits: 4

Department: History
HIS 3209: Jews in American Society and Culture

Explores the history of American Jewry from its beginnings to the present, touching on such topics as integration into American society, formation of Jewish identity, anti-Semitism, evolving religious traditions, cultural clashes, cultural issues involving various waves of immigration, the evolving role of women, Jews and entertainment, and economic and political issues.

Credits: 4

Department: History
HIS 3235: Women in the Biblical/Ancient World

An exploration of gender issues in the ancient world. Beginning with the ancient Near East and the biblical world in particular, students discuss portrayals of women, as well as their actual roles in society. Using textual and archaeological evidence, the course branches out to the related cultures of Mesopotamia and ancient Egypt, Greece, and Rome.

Credits: 4

Department: History
HIS 3245: The Land of Israel: Ancient to Modern

An exploration of the peoples, religions, cultures, places, and monuments of the land of Israel. Home to three major world religions, the land has been embraced, fought over, and conquered repeatedly throughout history. Why? Students explore the reasons for Israel’s prominence and discover how its position and importance in the worldview is constantly being reinvented.

Credits: 4

Department: History
HIS 3255: Biblical History 1200–200 B.C.

The historicity of the Hebrew Bible is explored, from the protohistory of the Israelites as related through the Pentateuch and early prophetic works, through the period of the Monarchies, to the 6th-century B.C. exile, the birth of early Judaism, and the books of prophets and writings. Issues relating to historiography and biblical criticism are essential elements in this course.

Credits: 4

Department: History
HIS 3260: Ideas and Society in the Age of Enlightenment

Major trends in the intellectual history of Europe from the latter part of the 17th century through the end of the 18th century, including changing perceptions of the relationship of the individual (male and female) to society, in the context of social change.

Credits: 4

Department: History
HIS 3265: Empire City: A History of New York City

An introduction to the history and culture of New York City. New York’s colonial origins, its critical role in the American Revolution, and its 19th-century ethnic and social conflicts are studied. Secondly, the evolution of the city’s dynamic growth in the 20th century and the impact of 9/11 are examined. Lastly, the image of New York City as portrayed in literature and film is explored.

Credits: 4

Department: History
HIS 3269: Vietnam and Modern America

Decades after its end, the legacy of the Vietnam war—America’s second longest war and a defining episode in its history—is still felt and hotly debated. Using documents, memoirs, fiction, poetry, song, and film, this course explores the war’s origins, development, ultimate conclusion, and aftermath, while paying special attention to those who experienced it both “in country” and at home.

Credits: 4

Department: History
HIS 3280: The 18th-Century Revolutions

A comparative view of revolutions and revolutionaries in 18th-century America, France, Britain, and Holland. Both documents and secondary literature show the origins and development of democratic revolutions.

Credits: 4

Department: History
HIS 3310: Politics and Literature in Modern China

Examines the role of Chinese literature in relation to politics. Readings include masterpieces of modern Chinese literature in translation and a couple of typical “propaganda pieces.” The class also sees, discusses, and compares several Chinese films.

Credits: 4

Department: History
HIS 3315: Cross-Cultural Interactions: U.S. and East Asia

A general historical survey of the relations between the United States and East Asia (China, Japan, Korea, and Vietnam) from the mid-19th century to the present. The course examines the roots of the diplomatic, political, and cultural interactions and conflicts across the Pacific Ocean.

Credits: 4

Department: History
HIS 3325: Encounter and Conflict: History of Jewish-Christian Relations

The historical relationship of Judaism and Christianity and the encounter of the Jewish and Christian communities from ancient to contemporary times are examined. Topics include the split between the two religions in late antiquity, medieval disputations, and the challenges of the modern period. Students also examine the varying ways in which texts can be interpreted.

Credits: 4

Department: History
HIS 3337: Politics and Archaeology

Explores the relationship between politics and archaeology. Topics include who owns antiquities; fakes, forgeries, and the manipulating of history; presentations of archaeology to the public; buying, selling, and auctioning of antiquities; and archaeology in wartime. The geographic range of topics includes Egypt, Iraq, Israel, Syria, and other countries in region, as well as Greece and Rome.

Credits: 4

Department: History
HIS 3345: Classic Hollywood, Early America

Students explore the underlying historical narratives of films from 1930 to 1960 that address topics from early America. These narratives are compared to the ways Hollywood recast historical lessons to suit modern circumstances and to promote “American values” challenged by economic depression and the rise of fascism and communism. Special emphasis is on the works of Ford and Capra.

Credits: 4

Department: History
HIS 3365: Global Modernity: Empire and Its Aftermaths

An exploration of the legacies of imperialism through the dual perspectives of history and literature. Readings include literary and historical texts, films, and essays that illuminate the key terms: global, empire, and modern.

Credits: 4

Department: History
HIS 3380: Paris, Vienna, Berlin

European cultural and intellectual history are examined by focusing on three “storm centers of modern culture”: Paris in the 1860s and 1870s, fin de siècle Vienna, and Berlin in the 1920s. Topics include representations of bourgeois society in art and literature; psychoanalysis; and the auditory and visual revolution in mass culture produced by film, radio, photography, and recorded sound.

Credits: 4

Department: History
HIS 3390: Victorian England

Analyzes political, social, and cultural developments in 19th-century England through a wide variety of historical, literary, and other contemporary writings.

Credits: 4

Department: History
HIS 3395: Nation and Revolution in Latin America

Introduces students to cultural and political history in Latin America from the end of World War I to the Sandinista Revolution in 1979. Focusing on the role of intellectuals, students explore debates on nationalism, immigration, culture, modernization, and development in the context of the consolidation of new Latin American states, the Alliance for Progress, the Chinese and Cuban Revolutions, and the student and guerrilla movements.

Credits: 4

Department: History
HIS 3415: The Americas Before 1492

An exploration of Native American life before 1492, using books, documentaries, and films. Topics include the rise and fall of native cultures in the Americas, commerce, politics, economics, agriculture, and urbanization. The focus is on institutions, values, and interrelationships among people across the Americas, and the accomplishments and influences of individual civilizations on the history of the Americas.

Credits: 4

Department: History
HIS 3424: Modern and Postcolonial France

Twentieth-century social, political, and cultural life in France and French (ex-) colonies in the Caribbean and Africa are examined through history, literature, and film. Topics include Paris as an intellectual center, France under German occupation, modernization and consumerism, family life and gender roles, decolonization, and multiculturalism and changing definitions of what it means to be French.

Credits: 4

Department: History
HIS 3425: The Second World War

Examines the origins, course, and legacy of World War II in Europe, Asia, and the Pacific. Topics include the expansion of German and Japanese power; war economies; occupation, resistance, and collaboration; genocide and atomic warfare; the shaping of a postwar order; and the construction and significance of personal and collective memories of wartime. Sources include film and fiction as well as historical readings.

Credits: 4

Department: History
HIS 3435: The Rise and Fall of Nazi Germany

Examines the political culture of Germany after World War I. Topics include culture and ideology during the Weimar Republic, the lives of Hitler and other leading Nazis, racial policies, the structure of the Nazi regime, and the creation of a “New Order” in Europe. The course explores changing historical interpretations of the Third Reich and recent scholarly controversies, including debate about the relationship between memory and history.

Credits: 4

Department: History
HIS 3440: Modern Germany

This course will explore German politics, society, and culture from the 18th century to the present. Through history and literature, the course examines themes like the creation of a unified state, the two world wars unleashed from German soil, the rise and fall of Nazism, anti-Semitism and the Holocaust, the division into two states during the Cold War, and the role of reunified Germany in today’s Europe.

Credits: 4

Department: History
HIS 3446: The History of Modern Italy

Explores the political and cultural history of modern Italy, charting Italy’s emergence as a modern nation and its subsequent reinvention as a fascist society. The rise and fall of Christian democracy, the building of the European Union and the impact of Americanization feature in the second half of the course. Another prominent theme is Italian migrations across Europe and the Americas.

Credits: 4

Department: History
HIS 3465: Emergence of the Modern U.S.: 1877–1945

Examines some of the political, social, and economic transformations in the United States between 1877 and 1945. Topics include immigration, the expanding international role of the U.S., reform movements, urbanization, and technological change. Analysis of a range of primary sources, from paintings to film, is emphasized.

Credits: 4

Department: History
HIS 3466: To Enjoy Our Freedom: African American History Since 1865

The meaning of freedom and citizenship is a central theme in this examination of the social, political, economic, and cultural forces that have shaped the lives of African Americans since the end of the Civil War. Topics include Reconstruction, the Harlem Renaissance, and the civil rights and black power movements.

Credits: 4

Department: History
HIS 3475: The History of Ireland

The social, political, economic, and cultural development of Ireland from 1610 to the present is examined. Topics include the effects of conquest and land confiscation, survival techniques, the creation of Anglo-Irish society, the rise of nationalism, the legacy of the Great Famine, the Celtic cultural revival, the cost of Irish independence, and the emergence of the “Celtic Tiger.”

Credits: 4

Department: History
HIS 3510: China in the Modern Age

Examines transformations of Chinese society and culture since the early 19th century. Themes include the impact of the West; the rise of Chinese nationalism; modernization, reforms, and revolution; and rapid economic growth in the 1990s.

Credits: 4

Department: History
HIS 3535: The Blue and the Gray: U.S. Civil War

The Civil War was arguably the most controversial and traumatic event in American history. This course considers how and why the war developed, its long-term results, and why it is such an important part of America’s cultural heritage. Through an examination of novels, films, diaries, and letters written by Civil War participants, students analyze the impact of this war and our continuing fascination with it.

Credits: 4

Department: History
HIS 3545: The Militarization of American Society

The influence of warfare is arguably the least understood aspect of human history; too often, war is considered like a sporting event—teams, winners, and losers. Students critically examine the effects of warfare on U.S. history in the 20th century. Topics include how militarization and “modern” warfare influence American society and shape its history.

Credits: 4

Department: History
HIS 3555: African Diasporas in the Americas

While many African-descended peoples throughout the world identify with a particular nationality—being Brazilian or Cuban, for example—many have also forged connections with each other across national boundaries and have recognized commonalities that transcend national contexts. To comprehend their shared experiences, students explore the history of the linkages created by Afro-Latin Americans and Afro-North Americans in the 19th and 20th centuries, using fiction, memoir, and recent historical scholarship.

Credits: 4

Department: History
HIS 3565: The New Nation: America, 1788–1850

Examines crucial factors that shaped the U.S. from the ratification of the Constitution to the Compromise of 1850, a period that witnessed the spread of democracy, the development of capitalism, and the expansion and consolidation of slavery in the South. Special emphasis is placed on race and class, technological developments, and the period’s influential movements and personalities.

Credits: 4

Department: History
HIS 3575: History of Popular Culture in the United States

Examines the development of popular culture and the major cultural industries in the U.S. from the early 19th century to the present. Students are also introduced to theoretical approaches to popular culture and learn how to apply these tools to selected texts from various periods and media.

Credits: 4

Department: History
HIS 3585: Archaeology of Empires: The Ancient World

Introduces the largest unit of political organization, the empire, and its early appearances in various regions of the world. The focus is on Akkadia in Mesopotamia, Egypt’s New Kingdom, the Qin Dynasty in China, and the Inca Empire in South America (also known as the Inka Empire). The course reviews theories of sociopolitical organization and development drawn from anthropological archaeology, economics, ecology, and political science.

Credits: 4

Department: History
HIS 3615: African History

This study of African history addresses the continent’s geography and how it has affected Africa’s place in history, the rise and fall of civilizations, Islamic/Arab influences, European colonization, independence movements, and current challenges. In particular, students examine the slave trade and its effects on African societies, colonial domination, and the rise of nationalist movements.

Credits: 4

Department: History
HIS 3635: Race, Ethnicity, and Identity in the U.S.

Examines conflicts and controversies over the issue of American identity from the early 19th century to the present, emphasizing the links between Americanism and “whiteness.” Students explore how immigrants and people of color contested their exclusion from the symbolic national community, and how these groups have been incorporated into a larger national community during the last century.

Credits: 4

Department: History
HIS 3645: The American Frontiers

The history of the American West is surveyed from its beginnings to the present. The focus is interdisciplinary: art, the popular novel, film, and historical documents are examined as a way of understanding the role of the West in the American mind. Writing is an integral part of the course.

Credits: 4

Department: History
HIS 3655: Intellectuals in an Age of Crisis

Examines the responses of European intellectuals to the Russian Revolution, Great Depression, spread of fascism, two world wars, and genocide. Themes include: the ideological conflict between communism, fascism, and democracy; race and empire; attempts to rethink socialist and capitalist economics; and reappraisals of human nature and modern progress in the light of the savageries unleashed in these decades.

Credits: 4

Department: History
HIS 3670: America in Recent Times

An examination of American society, culture, and politics from World War II to the present. Topics include the Cold War, Vietnam, and the rise of a global order dominated by America; economic development and its social and cultural consequences; movements of the 1960s and their legacy in American politics; and the triumph of conservatism and emergence of a “postliberal” era.

Credits: 4

Department: History
HIS 3685: Sex and Gender in Latin America

Examines the new historiography on gender and sexuality in Latin America. It is organized around the themes of changing gender roles and shifting constructions of masculinity, femininity, and honor, with particular attention to issues of sexuality, sexual preferences, constraints, and transgressions.

Credits: 4

Department: History
HIS 3705: Slavery and Social Status in the Atlantic World

An examination of the interplay of class, race, gender, and status in the Atlantic world from 1500 to 1860. Students are introduced to the ideas, beliefs, and formal philosophies that defined who were “haves” and “have nots” and explore the ways in which these notions were questioned and eventually challenged.

Credits: 4

Department: History
HIS 3721: Local History Workshop

Combines classroom learning with practical experience. Lectures, discussions, and reading in urban, regional, and local history alternate with library and on-site archival education. Students spend half the semester on campus and half the semester at the Westchester County Archives.

Credits: 4

Department: History
HIS 3727: History of Feminist Movements

This reading-intensive seminar traces the history of feminist movements in the U.S. and Europe from the 18th century to the present and also examines postcolonial global feminisms. Students are expected to master the basic historical narrative of Western feminist movements and to wrestle with the questions of race, class, and region that postcolonial feminist movements have raised.

Credits: 4

PREREQ: HIS1000-1994 Or HIS2000-2994 Or HIS3000-3994 Or HIS4000-4994 Or GND1000-1994 Or GND2000-2994 Or GND3000-3994 Or GND4000-4994

Department: History
HIS 3730: Wives, Widows, Workers

Explores the place of women in Western society, from ancient Greece to the 17th century. The roles covered range from the prescribed (wife and mother) to the actual (intellectual and worker). Lectures are supplemented by discussion of primary sources.

Credits: 4

Department: History
HIS 3740: Wives, Workers, Warriors

Explores the place of women in European society, from the Enlightenment through the 20th century. Topics include the emergence of a women’s movement, the effects of industrialization on women, and the impact of both democratic and totalitarian regimes on women. Lectures are supplemented by discussion of primary sources.

Credits: 4

Department: History
HIS 3770: Traditional China

Explores traditional Chinese civilization, including the shaping of the strong imperial tradition; Confucianism, Taoism, and Buddhism; arts and literature; and China’s relations with other Asian countries before the modern age.

Credits: 4

Department: History
HIS 3855: Oral History Workshop

Develops students’ interviewing and interpretive skills in the field of oral history. Students learn the theory and methodology and work on a final research project that seeks to bring forward the voices of those frequently excluded from more typical historical sources. Students also learn to produce archival quality interviews, and the final project includes some form of public presentation.

Credits: 4

Department: History
HIS 3880: Junior History Seminar

Students read selections from the works of major historians and examine new techniques and methodologies. Designed to help juniors prepare proposals for their senior projects. Required for junior history majors and intended exclusively for them.

Credits: 4

Department: History
THP 3400: Theatre in Prague

Meeting at the Academy of Drama in Prague, students study and perform plays by Václav Havel, the dissident playwright imprisoned during the Communist era who became president of the Czech Republic. Students explore political and cultural contexts of theatrical performance, enhanced by meetings with theatre professionals and visits to sites relevant to the intersection of artistic creation and political revolution.

Credits: 3

Department: History

Journalism

https://www.purchase.edu/academics/college-catalog/?program=Journalism

Description:

The journalism major at Purchase College is designed to provide students with the intellectual bases and skills to gather, assess, and disseminate information and ideas.

This equips students for careers in journalism and a wide variety of other fields, including law, government, business, and public relations. The program fits naturally in the School of Humanities, as journalism at its best exemplifies the open and honest inquiry that marks the liberal arts and sciences.

Students are offered a central set of skills courses in journalism, electives in specialized areas in a variety of media, and courses that explore the broader context of journalistic practice. Students also take advantage of the broad offerings of Purchase College, and are encouraged to have internships. The studies culminate in a senior project, an extended work that allows students to showcase the full range of their talents.

Facilities

Purchase students produce journalism in a variety of computer labs using equipment consistent with industry standards. Journalism majors work in a dedicated suite in the Humanities Building that offers an integrated newsroom, broadcast studio, and control room with up-to-the-minute technology.

Our proximity to New York City, the media capital of the world, has enabled students to land internships with such varied media outlets as NBC, CBS, ABC, PBS, MSG, Marie Claire, and the Daily News. In essence, we strive to offer our students whatever they need to produce and promote excellent work. Chief among these things is a core set of journalistic practices and principles that remain steady even as the technology changes.

Requirements:

In addition to meeting general degree requirements, all journalism majors must complete the following:

I. Introductory Courses: 6 credits

These two introductory courses are the only journalism courses open to freshmen.

  1. JOU 1500/Introduction to Media: 3 credits
  2. JOU 2150/History of Journalism: 3 credits

II. Central Courses: 22 credits

  1. JOU 2515/Journalism I: 4 credits*
  2. JOU 2915/Journalism II: 4 credits*
  3. JOU 3080/Freedom and the Media: 4 credits
  4. JOU 3880/Junior Seminar in Journalism: 2 credits
  5. SPJ 4990/Senior Project I: 4 credits
  6. SPJ 4991/Senior Project II: 4 credits

*Students must earn a minimum grade of C+ in JOU 2515 and 2915, which must be taken initially and in sequence.

III. Journalism Electives: 10–12 credits

Three journalism electives, chosen from the list below. New courses may be added to this list. Students should check with their faculty advisor to determine if a new course is an appropriate elective.

JOU 3040/Race, Gender, and the Media
PHI 3085/Objectivity
JOU 3100/Photojournalism
JOU 3120/First-Person Reporting
JOU 3130/News Documentary (added Spring 2017)
JOU 3160/Broadcast News I
JOU 3170/Broadcast News II
JOU 3200/Feature Writing
JOU 3220/The Art of Sportswriting
JOU 3230/The Beat of Music Journalism
JOU 3260/Environmental Journalism
JOU 3350/Community Reporting
JOU 3374/The Literature of Journalism
JOU 3500/Multimedia Tools
JOU 3600/News Editing
LIT 3635/Reviewing the Contemporary Novel
JOU 3780/Criticism/Reviewing Workshop
JOU 4010/Covering the Arts
JOU 4020/International Issues Reporting
JOU 4150/Investigative Reporting
JOU 4320/Broadcast Writing

IV. Other Studies

Five electives in one area of study within the liberal arts and sciences, chosen in consultation with the faculty advisor. (Many students will find it appropriate to earn a minor.) The per-course credits vary, but the credit total is typically 18 to 20. A minimum of 9 credits must be upper-level.

Minor requirements:

The minor in journalism is designed for undergraduate students in all disciplines at Purchase College who are interested in the field of journalism.

Students interested in this minor should submit a completed Application for a Program of Minor Study to the School of Humanities main office.

Academic Requirements for the Minor in Journalism

Five courses (18–20 credits) are required:

JOU 2515/Journalism I*
JOU 2915/Journalism II*
JOU 3080/Freedom and the Media
JOU —/Two journalism electives

*Students must earn a minimum grade of C+ in JOU 2515 and 2915, which must be taken initially and in sequence.


Faculty

  • Associate Professor of Journalism
    • BA, Brown University
    • MS, Columbia University Graduate School of Journalism
  • Associate Professor of Journalism
    Interim Dean of Liberal Arts and Sciences
    • BA, University of Minnesota
    • MS, Columbia University Graduate School of Journalism
  • Visiting Assistant Professor of Journalism

    BA, Williams College
    MA, New York University

  • Associate Professor of Journalism
    • BA, American University
    • MS, Columbia University Graduate School of Journalism
  • Assistant Professor of Journalism
    • BA, New York University
    • MS, Columbia University Graduate School of Journalism
  • Lecturer, Journalism

    MS, Columbia University
    MA, Fairfield University
    BA, The Elliot School of International Affairs,George Washington University

  • Lecturer in Journalism

    Graduate of the Naval School of Photography, Defense Information School of Photojournalism, and the U.S. Navy-sponsored military photojournalism program, Newhouse School of Public Communications, Syracuse University.

  • Assistant Professor of Journalism
    • BA, MA, Empire State College, SUNY

Courses

COM 3375: Podcasting and Audio Storytelling

Students will learn different styles of podcasting, best practices for developing and pitching a show, how to use professional audio recorders, basic audio editing techniques with Adobe Audition and how to build an audience and distribute a podcast once it’s complete.

Credits: 3

Department: Journalism
JOU 1120: Journalism and Film

An exploration of journalism through famous films. Students screen a variety of films that investigate different aspects of journalistic practice—from classic shoe-leather reporting to high-stakes investigations aimed at uncovering political malfeasance and corruption. The course also covers everyday challenges of the craft, from developing sources to navigating ethical dilemmas and the ever-increasing demand to meet deadlines and make headlines.

Credits: 4

Department: Journalism
JOU 1500: Introduction to Media

Today’s media are placed in historical, cultural, and economic context. Students explore the concept of media literacy, and then delve into specific media platforms, including newspapers, magazines, the Internet, radio, TV, and movies. The class also examines the spin-off industries of advertising and public relations.

Credits: 3

Department: Journalism
JOU 2150: History of Journalism

Covers the history of journalism with an emphasis on American journalism after 1900. Students examine the objectives of journalism, styles of writing and coverage, and the shape and impact of the industry in various periods. Recent developments are studied with an eye toward how they fit into historical contexts.

Credits: 3

Department: Journalism
JOU 2515: Journalism I

In this introductory course, students learn the fundamentals of reporting and writing news stories, focusing on the skills that form the basis for newspaper, magazines, broadcast, and Web-based journalism. Students also learn AP (Associated Press) style and proofreading and examine broader issues, such as ethics, the impact of the media, and libel.

Credits: 4

Department: Journalism
JOU 2915: Journalism II

Students build on skills developed in JOU 2515 and delve into more specific areas of coverage called “beats.” Students who complete JOU 2515 and 2915 may be eligible for semester-long internships at local publications.

Credits: 4

PREREQ: JOU2515

Department: Journalism
JOU 3020: Reporting the Region

Students explore the region to produce journalistic reports that include writing and photography. Assignments include stories on challenges facing a French family, implications of a French political issue, a social issue, and a travel piece. The goal is for students to write as a foreign correspondent, conveying the community’s views, struggles, sights, and sensations to an audience back home. (offered in France, Summer)

Credits: 4

Department: Journalism
JOU 3025: Through the Lens: Photo in France

Students are introduced to documentary techniques as they explore the region through their digital cameras. Topics include environmental portraiture, landscape, and feature photography, among others. France’s rich contributions to documentary photography and the “decisive moment” are discussed. Students shoot and produce a photo story on the community, culture, and environment of the region. Open to beginning and advanced photography students. (offered in France, Summer)

Credits: 4

Department: Journalism
JOU 3040: Race, Gender, and the Media

Examines the relationship between the media and social constructions of race, gender, and class, both in the U.S. and within a global context. Topics include biases and assumptions in print and visual media; representations of masculinity and femininity; and the media’s role in creating and reinforcing ideas, symbols, and ideologies within cultures. Text analysis includes newspapers, magazine articles, cartoons, television, movies, and advertising.

Credits: 4

Department: Journalism
JOU 3080: Freedom and the Media

Examines the historical, philosophical, and legal bases for freedom of speech and of the press in the U.S. and the practical application of these principles to print, broadcast, and online media today. Topics include the First Amendment, libel, privacy, government regulation, news gathering, and journalism ethics. Not recommended for freshmen or sophomores.

Credits: 4

Department: Journalism
JOU 3090: The Art of the Interview

Students build on skills acquired in previous journalism classes as they explore in depth the various interviewing techniques for print, broadcast, and online media. Students critique each other’s work and critically dissect published articles and broadcast interviews. They report and write their own in-depth profiles with an eye toward publication in professional or student publications or broadcast outlets.

Credits: 4

Department: Journalism
JOU 3100: Photojournalism

A basic course in the use of photography for journalistic purposes. Topics include how to shoot news events, feature photo shoots, cropping, and the use of computer technology.

Credits: 4

Department: Journalism
JOU 3120: First-Person Reporting

Students build on the skills acquired in JOU 2515 and 2915 as they discuss, critique, write, revise, and edit first-person reporting. This is a writing-intensive course; students work on developing a point of view and voice and craft material that resonates with the reader. They are also expected to be active peer-editors of their classmates’ work.

Credits: 4

PREREQ: JOU2515 And JOU2915

Department: Journalism
JOU 3130: News Documentary

Documentaries are supposed to provide a factual record, but do they? In this course, students analyze, critique, and deconstruct documentary films, and discuss the evolution of the genre. Historical context, aesthetics, and ethics are examined. Students look at the emerging fault lines in the documentary format, where it has become increasingly difficult to tell the difference between news and entertainment.

Credits: 4

PREREQ: JOU2515 And JOU2915

Department: Journalism
JOU 3140: Business and Economic Reporting

Students learn about business and economic news through reporting, writing, and reading, and establish an understanding of the four core elements of business journalism: the economy; the financial world; the consumer; and government regulation/policy. Students familiarize themselves with the language of corporations and the financial markets, and learn how to write clearly for any audience.

Credits: 4

PREREQ: JOU2915

Department: Journalism
JOU 3160: Broadcast News I

Building on the foundations of JOU 2515 and 2915, this hands-on course enables students to make the transition from reporting for print and online publications to reporting for radio and television news broadcasts. Students gain experience shooting, writing, and editing television news stories and are introduced to the basics of live television studio production. Recommended prior course: JOU 3500.

Credits: 4

PREREQ: JOU2915

Department: Journalism
JOU 3170: Broadcast News II

Students further their development as broadcast journalists through class exercises, field assignments, and in-studio productions, serving as reporters, anchors, producers, and directors for a campus television news and feature program. Strengthening broadcast writing skills and polishing on-air delivery are emphasized.

Credits: 4

PREREQ: JOU3160 Or JOU3150

Department: Journalism
JOU 3200: Feature Writing

An advanced course focusing on longer and more complex reporting and writing techniques for newspapers, magazines, and other types of publications.

Credits: 4

PREREQ: JOU2515 And JOU2915

Department: Journalism
JOU 3220: The Art of Sportswriting

In this overview of national sports journalism, the craft is explored through extensive reading of eminent sports writers and the history of the art, as well as intensive writing. Special emphasis is placed on thorough reporting, the craft of interviewing, writing on deadline, and producing prose written in a distinctive voice.

Credits: 4

Department: Journalism
JOU 3230: The Beat of Music Journalism

Explores the craft of journalistic writing about various musical genres, including rock, hip-hop, punk, heavy metal, classical, R&B, and jazz. Readings include notable works of music journalism in print and on the web. Students write articles on the genres of particular interest to them. This course is suitable for both specialized (journalism and music) and general audiences.

Credits: 4

PREREQ: JOU2915

Department: Journalism
JOU 3260: Environmental Journalism

In this introduction to the issues associated with reporting on the environment, students gain an understanding of the science behind local and global environmental issues and the journalistic approaches necessary to illuminate those issues. The course grapples with the difficulties inherent in translating scientific information for mass audiences.

Credits: 4

PREREQ: ENV1500 Or (JOU2515 And JOU2915 )

Department: Journalism
JOU 3350: Community Reporting

Students report on communities surrounding the college, with an emphasis on Port Chester, in collaboration with Casa Purchase. Includes résumé-building opportunities to get work published in local news outlets on such topics as immigration, social justice, public safety, sports, housing, education, politics, business, volunteerism, lifestyles, and college issues.

Credits: 4

PREREQ: JOU2515 And JOU2915

Department: Journalism
JOU 3374: The Literature of Journalism

Students look at the evolution of long-form journalism of postwar America, roughly defined as 1946–1980. Works include Truman Capote’s In Cold Blood, John Hersey’s Hiroshima, and the magazine writing of Lillian Ross, Alex Haley, Joan Didion, and Gay Talese. The class also explores more recent authors, such as Isabel Wilkerson and Rachel Aviv, and the influences of the digital age.

Credits: 4

Department: Journalism
JOU 3500: Multimedia Tools

An introduction to issues and developments in multimedia journalism. Students critique and create stories for publication online, learning how to assemble story packages that combine media elements, including text, video, audio, and images. Includes some exploration of the use of social media and other techniques to promote stories. May be taken concurrently with JOU 2515 or 2915. Completion of JOU 3500 is strongly recommended before taking JOU 3160.

Credits: 4

Department: Journalism
JOU 3600: News Editing

Covers the art of editing, from breaking news to features in special styles. Students work intensively on improving writing, expanding knowledge of word crafting, and producing tight prose. The relationship between reporters, editors, and decisions about news judgment is examined. An essential course for writing-based careers.

Credits: 4

PREREQ: JOU2915

Department: Journalism
JOU 3780: Criticism/Reviewing Workshop

An introduction to styles of criticism and a practical course in writing short, critical essays (reviews) on the performing and visual arts. On-campus plays and films are assigned; students write about theatre, film, music, dance, painting, and other art forms.

Credits: 4

PREREQ: JOU2915

Department: Journalism
JOU 3880: Journalism Junior Seminar

The goal of this seminar is to equip students with the skills needed to complete a successful senior project, and guide them in choosing a topic and format to research and report in depth. Students look at career options in journalism, do a résumé and job-hunting workshop, and discuss internships. Required for journalism majors.

Credits: 2

PREREQ: JOU2515 And JOU2915

Department: Journalism
JOU 4010: Covering the Arts

Using the college’s wide array of cultural activities as material, students learn to bring immediacy and depth to their reporting on entertainment and the arts. The course begins with a study of the form and function of various disciplines as a basis for this reporting.

Credits: 4

PREREQ: JOU2515 And JOU2915

Department: Journalism
JOU 4020: International Issues Reporting

Examines the methods of international affairs journalism, how international issues and organizations are covered, and the innovative ways in which local reporters can reach out to bring the world closer to their readers. Students produce stories that illuminate connections between nearby neighborhoods and faraway lands. Limited to students who have declared a major or minor in journalism.

Credits: 4

PREREQ: JOU2515 And JOU2915

Department: Journalism
JOU 4040: Video Journalism

Building on skills from Multimedia Tools, students approach video in a photojournalistic style. They learn to identify interesting characters with remarkable stories. In nonnarrative video storytelling—where students capture vérité scenes and create cinematic sequences—the focus is on having people tell their stories in their own words. This personal approach allows the viewer to relate and to emotionally engage.

Credits: 4

PREREQ: JOU3500 Or JOU3160

Department: Journalism
JOU 4150: Investigative Reporting

Student reporters learn to develop the investigative state of mind needed to change public opinion and influence policy making. Working individually and in teams, students use documents, databases, official records, and human sources to probe social justice issues, expose official hypocrisy, and ferret out corruption, waste, and inefficiency in government and other institutions.

Credits: 4

PREREQ: JOU2915

Department: Journalism
LIT 3635: Reviewing the Contemporary Novel

An introduction to the contemporary novel and the art and practice of book reviewing. Students read exemplary novels (e.g., Cloud Atlas and Netherland); they read exemplary book critics (e.g., Zadie Smith and James Wood); and they write their own exemplary reviews of contemporary fiction. Writing assignments range from blog posts to newspaper-style reviews and magazine-style essays.

Credits: 4

Department: Journalism
PHI 3085: Objectivity

Is there such a thing as objectivity, journalistic or otherwise? How do accounts of reality in the natural sciences, social sciences, and the humanities differ, and is any account more objective than the others? How do narratives tell the truth, and how do they lie? What might people mean by the term “truth,” anyway? Course readings are interdisciplinary; the course style is philosophical.

Credits: 4

Department: Journalism
WRI 2770: The Art of the Essay

Though often seen as simply a test of students’ knowledge and ideas, essays go far beyond what is generally required in courses. Students in this course read and experiment with a wide variety of critical, journalistic, academic, personal, and experimental essay forms. In the process, they further develop their skills as critical thinkers and writers.

Credits: 4

PREREQ: WRI1110 Or WRI2110

Department: Journalism

Language and Culture

https://www.purchase.edu/academics/college-catalog/?program=Language+and+Culture

Description:

Knowledge of foreign languages and an awareness of other cultures are of critical importance in today’s world, in which international communication is instantaneous and events taking place at great geographical distances have immediate global repercussions.

The language and culture program offers students the opportunity to acquire fluency in at least one language and to gain familiarity with the society (or societies) in which that language is used. Keeping in step with the increasingly complex interactions among countries, the program also allows students to explore a diversity of cultures through the wide choice of courses that fulfill requirements for the major.

The language and culture major offers a full program in French and Spanish, with opportunities to study Chinese, German, Hebrew, Italian, linguistics, and Portuguese. A course in Nigerian/Hausa language and culture is also available through the anthropology program.

Modern languages are taught through an approach that immediately involves students in oral interactions in the target language, while developing their linguistic and cultural awareness. Beginning French and Spanish courses also include interactive language labs. As students acquire fluency, they are introduced to varied aspects of the language’s cultural context. These include courses in civilization, translation, literature, and history.

Foreign Language Placement

All students are required to complete a foreign language placement exam before enrolling in any language course. Faculty members monitor their class lists to ensure that students have taken the exam and are enrolled in the appropriate level.

Study Abroad Opportunities

Students are strongly encouraged to participate in the college’s study abroad programs. These interdisciplinary programs include courses that fulfill requirements for the major in language and culture and/or core curriculum requirements.

Minors in the Language and Culture Program

Students majoring in any discipline may pursue a minor offered by the language and culture program: Chinese, French, Italian, Spanish, and linguistics. Students interested in pursuing any of these minors should submit a completed Application for a Program of Minor Study to the School of Humanities main office.

Related Interdisciplinary Minors:

Asian Studies | Latin American Studies

Requirements:

In addition to meeting general degree requirements, all students majoring in language and culture must:

  1. demonstrate proficiency in one foreign language (French or Spanish) by completing with a grade of B or higher:
    • an advanced language course and/or
    • a course in advanced composition and conversation in the selected foreign language.
  2. complete the Translation Workshop in the selected language with a grade of B or higher.
  3. complete a minimum of eight courses related to the study of foreign culture. Two of these eight courses must be related to the cultural area of the major language. In addition to any courses offered within the language and culture program, students may select relevant courses in literature, history, art history, philosophy, political science, and/or anthropology with the approval of a member of the Language and Culture Board of Study.
     
    Students may replace four of the eight courses described above with courses in a second language. To exercise this option, students must complete at least two semesters of the second language at the advanced level or above. Beginning languages may not be counted toward the completion of this option.

  4. complete a two-semester, 8-credit senior project: SPJ 4990/Senior Project I (4 credits), followed by SPJ 4991/Senior Project II (4 credits). The project must have as its focus some manifestation of the major language or culture that the student has selected. It may take a variety of forms, concentrating on aspects of the major language, on a cultural theme, or on a particular period or event. It will generally involve research, though it may incorporate the student’s personal experience (e.g., work or study abroad). All majors must submit a short proposal of their senior topic for approval by the Language and Culture Board of Study by Oct. 15 (or March 15) of their senior year.

Faculty

  • Lecturer in Language and Culture

    BA, Universidad de Lima
    MA, California State University Los Angeles

  • Lecturer in Italian
    • BA, University of Pisa (Italy)
    • PhD, University of Alberta (Canada)
  • Lecturer in German
    • BA, Humberside Business School (UK)
    • BA, Fachhochschule Münster (Germany)
    • MA, Manhattanville College
  • Lecturer in Spanish
    • BA, University at Buffalo, SUNY
    • MA, Manhattanville College
  • Lecturer in Spanish
    • BA, Hamilton College
    • MA, Columbia University
  • Lecturer in French
    • Licence-ès-Lettres, Maitrise-ès-Lettres, University of Antananarivo (Madagascar)
    • MA, University of Cincinnati
    • PhD, University of Oregon
  • Lecturer in Spanish

    BA, University of Leeds, England

  • Lecturer in Hebrew
    • BA, Hunter College, City University of New York
    • MA, Long Island University
  • Visiting Assistant Professor of Language and Culture


    BA, MA, Universidad Autónoma de Madrid
    MA, Universidad Complutense de Madrid
    MA, PhD, University of Southern California

  • Associate Professor of Spanish and Literature
    • BA, Columbia University
    • PhD, University of Pennsylvania
  • Lecturer in Portuguese
    • AA, Monterey Peninsula College
    • BA, University of California, Santa Cruz
    • MA, New York University
  • Lecturer in Spanish
    • BS, University of La Sabana (Colombia)
    • MA, Manhattanville College
  • Assistant Professor of Language and Culture

    BA, Trent University (Canada)
    MA, Queen’s University (Canada)
    MA, PhD, Yale University

  • Lecturer in Chinese
    • BA, Peoples University of Beijing (China)

Courses

ASL 1000: American Sign Language I

A comprehensive introduction to American Sign Language (ASL), beginning with a focus on the linguistic aspects of ASL, including syntax, facial expression, vocabulary, and the manual alphabet. Students progress to conversational signing and finger spelling and develop an ability to communicate on a beginning level.

Credits: 4

Department: Language and Culture
ASL 1100: American Sign Language II

In this continuation of American Sign Language I, emphasis is placed on conversational signing, syntax, and facial expression. Students are introduced to classifiers and directional verbs, and develop an ability to communicate on an intermediate level.

Credits: 4

PREREQ: ASL1000

Department: Language and Culture
CHI 1010: Beginning Chinese I

For students who have had little or no previous exposure to the language. Introduces the basics of pronunciation and of the structural and writing systems of standard modern Chinese (Mandarin Chinese).

Credits: 4

Department: Language and Culture
CHI 1020: Beginning Chinese II

A continuation of CHI 1010. Increased time is devoted to reading and writing. Development of oral skills remains the primary object of the course.

Credits: 4

PREREQ: CHI1010

Department: Language and Culture
CHI 1505: Chinese Culture and Social Life

Introduces various aspects of Chinese culture (e.g., values, customs, manners, and festivals) and discusses everyday life in contemporary Chinese society.

Credits: 3

Department: Language and Culture
CHI 2010: Intermediate Chinese I

Designed for students who have completed CHI 1010 and 1020 or the equivalent. Consolidates the foundation that students have acquired through previous coursework and introduces more complex grammatical structures and background cultural information.

Credits: 4

PREREQ: CHI1020

Department: Language and Culture
CHI 2020: Intermediate Chinese II

A continuation of CHI 2010. Consolidates the foundation that students have acquired through previous coursework and introduces more complex grammatical structures and background cultural information.

Credits: 4

PREREQ: CHI2010

Department: Language and Culture
CHI 3010: Advanced Chinese I

Designed for students who have completed CHI 2010 and 2020 or studied the language for at least two years. Consolidates the knowledge and skills acquired through previous coursework and enhances reading, writing, and oral-expressive skills.

Credits: 4

PREREQ: CHI2020

Department: Language and Culture
CHI 3020: Advanced Chinese II

A continuation of CHI 3010, designed for students who have completed five semesters of college-level Chinese or the equivalent. Consolidates the knowledge and skills acquired through previous coursework and enhances reading, writing, and oral proficiency.

Credits: 4

PREREQ: CHI3010

Department: Language and Culture
FRE 1010: Beginning French I

For students who have had little or no previous exposure to the language. Presents the essential structures of spoken and written French by involving the student in situations that concretely represent the concepts of the language.

Credits: 4

Department: Language and Culture
FRE 1020: Beginning French II

A continuation of FRE 1010. Increased time is devoted to reading and writing. The development of oral skills remains the primary objective of the course.

Credits: 4

Department: Language and Culture
FRE 2010: Intermediate French I

For students who are already familiar with the fundamentals of spoken and written French. Through a variety of written and oral assignments and exercises, students acquire a wider range of vocabulary, review basic structures, and become more comfortable interacting in spoken French. Students are encouraged to take risks and enjoy the adventure of language acquisition in an open and relaxed atmosphere.

Credits: 4

Department: Language and Culture
FRE 2020: Intermediate French II

A continuation of FRE 2010. Concentrated work to help students acquire more nuanced vocabulary, with an introduction to slang. Students gain greater ease in reading through a variety of texts of increasing difficulty. The readings also serve as a basis for discussion, composition, and grammar review.

Credits: 4

Department: Language and Culture
FRE 2070: Intensive Intermediate French

For students who are already familiar with the fundamentals of French; placement in FRE 2070 or 3070 is determined by a brief exam. Designed to help students quickly acquire the ability to negotiate their immediate surroundings using the French language. Elements of grammar and syntax are introduced, reviewed, and complemented by readings from newspapers and other sources relevant to everyday life. Taught in French, with emphasis on the spoken language. (Offered in France, Summer)

Credits: 4

Department: Language and Culture
FRE 3015: Advanced French I

Offers a stress-free learning atmosphere to help students of French move toward fluency. Starting with a brief refresher on the basics through interactive situations in the classroom, students go on to invent situations, then perform, write about, and discuss them, increasing their command of the language and their comfort level in using it.

Credits: 4

Department: Language and Culture
FRE 3025: Advanced French II

In this continuation of FRE 3015, readings, writing, and conversational exercises are used to improve fluency in the French language. A variety of media are used to stimulate discussions. To increase their comfort level and command of French, students invent dramatic situations in the classroom that they perform, analyze, discuss, and debate.

Credits: 4

Department: Language and Culture
FRE 3067: French Caribbean Literature

A study of major developments in French Caribbean literature of the 19th through 21st centuries. This course focuses on questions of language, race, gender, geography, and class, with emphasis on local, regional, and global frames of reference.

Credits: 4

Department: Language and Culture
FRE 3070: Intensive Advanced French

For students who are already familiar with the fundamentals of French; placement in FRE 2070 or 3070 is determined by a brief exam. Uses material like television, magazines, newspapers, and literature to help students increase their knowledge of the language while introducing the various aspects of French life. Students also review and refine their knowledge of grammatical structures and work toward becoming familiar with idiomatic language and slang. Taught in French, with emphasis on the spoken language. (Offered in France, Summer)

Credits: 4

Department: Language and Culture
FRE 3230: The Island as Laboratory

Islands, because of their size and supposed isolation, have been the site of environmental and military experiments. Similarly, writers have used the island to build a textual laboratory in order to test their philosophical and narrative experiments. In this course, students will look at novels (including graphic novels) to examine this scientific, military and narrative instrumentalization of the island.

Credits: 4

Department: Language and Culture
FRE 3705: Short Fiction in French

An examination of the short fiction form, including novellas and stories, from tales of adventure to modern psychological fiction. The course begins with the realists, then moves through the surrealists, existentialists, and “nouveau roman” authors. Texts include works by Balzac, Nerval, Flaubert, Desnos, Camus, Sarraute, Colette, and Duras.

Credits: 4

PREREQ: FRE3015

Department: Language and Culture
FRE 3710: Classics of French Literature on Film

How does the cinema adapt a text, and what are the questions underlying these semiological, ideological, or technical choices? Students read the literature (i.e., Cyrano de Bergerac, Madame Bovary) and view the films. Although this course is taught in English, the films are in French, and students who can read the literature in French are encouraged to do so.

Credits: 4

Department: Language and Culture
FRE 3730: Translation Theory

Students are introduced to the theory of translation, as it has developed over time and has dealt with questions from linguists, poets, anthropologists, and gender theorists. Taken in conjunction with FRE 3735.

Credits: 2

COREQ: FRE3735

Department: Language and Culture
FRE 3735: French Translation

Students produce, refine, evaluate, and reflect on translations from French to English and English to French. Particular emphasis on the translation of fiction and poetry. Taken in conjunction with FRE 3730.

Credits: 2

COREQ: FRE3730

Department: Language and Culture
GER 1010: Beginning German I

For students who have had little or no previous exposure to the language, and for students who are majoring in language and culture. Presents the essential structures of spoken and written German by involving the student in interactive situations.

Credits: 4

Department: Language and Culture
GER 1020: Beginning German II

A continuation of GER 1010. Increased time is devoted to reading and writing. Development of oral skills remains the primary objective of the course.

Credits: 4

PREREQ: GER1010

Department: Language and Culture
HEB 1010: Beginning Hebrew I

For beginning students and those with rudimentary training in Hebrew. The course stresses reading, writing, and speaking by involving students in situations that concretely express the concepts of the language.

Credits: 4

Department: Language and Culture
HEB 1020: Beginning Hebrew II

A continuation of HEB 1010. Students increase their fluency and confidence in comprehension through discussions of simple stories and increased grammar drill. Situations are presented and discussed in Hebrew.

Credits: 4

PREREQ: HEB1010

Department: Language and Culture
HEB 2110: Intermediate Hebrew I

Readings of adapted short stories and essays stimulate class discussion in Hebrew and provide the context for increased vocabulary and written drills. Attention is given to grammar and style.

Credits: 4

PREREQ: HEB1020

Department: Language and Culture
HEB 3150: Conversational Hebrew: Ulpan Style

A conversational Hebrew course that allows students to acquire fluency in spoken Hebrew. Reading, writing, grammar, syntax, and conversation in modern Hebrew are emphasized.

Credits: 4

Department: Language and Culture
HIS 2005: Modern Latin America

Explores major social, cultural, economic, and political developments in Latin America from the period following the Wars of Independence to the present. The historical roots of such problems as racism, persistent poverty, and political repression are examined, focusing on “subaltern” groups (e.g., peasants, workers, women, and people of color).

Credits: 4

Department: Language and Culture
HIS 3446: The History of Modern Italy

Explores the political and cultural history of modern Italy, charting Italy’s emergence as a modern nation and its subsequent reinvention as a fascist society. The rise and fall of Christian democracy, the building of the European Union and the impact of Americanization feature in the second half of the course. Another prominent theme is Italian migrations across Europe and the Americas.

Credits: 4

Department: Language and Culture
HIS 3555: African Diasporas in the Americas

While many African-descended peoples throughout the world identify with a particular nationality—being Brazilian or Cuban, for example—many have also forged connections with each other across national boundaries and have recognized commonalities that transcend national contexts. To comprehend their shared experiences, students explore the history of the linkages created by Afro-Latin Americans and Afro-North Americans in the 19th and 20th centuries, using fiction, memoir, and recent historical scholarship.

Credits: 4

Department: Language and Culture
ITA 1010: Beginning Italian I

For students who have had little or no previous exposure to the language. Presents the essential structures of spoken and written Italian by involving the student in situations that concretely represent the concepts of the language.

Credits: 4

Department: Language and Culture
ITA 1020: Beginning Italian II

A continuation of ITA 1010. Increased time is devoted to reading and writing. The development of oral skills remains the primary objective of the course.

Credits: 4

PREREQ: ITA1010

Department: Language and Culture
ITA 2010: Intermediate Italian I

For students already familiar with the fundamentals of spoken and written Italian. After a review of grammar through various reading assignments, students are given a context for discussion to increase vocabulary and speaking ease. Weekly compositions aid grammar review.

Credits: 4

PREREQ: ITA1020

Department: Language and Culture
ITA 2020: Intermediate Italian II

A continuation of ITA 2010. Weekly compositions serve as an aid for grammar review.

Credits: 4

PREREQ: ITA2010

Department: Language and Culture
ITA 2070: Intensive Intermediate Italian

For students already familiar with the fundamentals of spoken and written Italian. Particular attention is given to conversation, encouraging the student to communicate in Italian. Various authentic materials (newspapers, videos, audio cassettes) are used to facilitate this process. (Offered in Italy, Summer)

Credits: 4

Department: Language and Culture
ITA 3070: Intensive Advanced Italian

For students who have had at least four semesters of college Italian or the equivalent. Through selected readings on a variety of topics, students explore the more complex aspects of the Italian language. Discussions and written work based on the readings help students attain a higher level of fluency. (Offered in Italy, Summer)

Credits: 4

Department: Language and Culture
LAC 3000: Syntax and Semantics

An introduction to the study of syntax and its relationship to interpretation and meaning (semantics). Data from English and other languages are used to illustrate the basic principles and parameters that govern language facility. The course progresses from an introduction of the basic notions of syntactic theory to more complex phenomena observed in the world’s languages.

Credits: 4

Department: Language and Culture
LAC 3250: Space as Construction: Reclaiming and Rewriting Colonial Landscapes in French-language Literature

The literatures of former French colonies are deeply concerned with questions of space: territory, displacement, indigeneity and migration. This course analyzes recurrent spatial tropes (the island, the plantation, the border, etc.) in the French-language literatures of the Caribbean, the Indian Ocean and Africa to see how received notions of space, including literature as textual space, are reinvented.

Credits: 4

Department: Language and Culture
LAC 3360: Methods of Language Teaching

A survey of various teaching methods in second language instruction. Students become familiar with the theories of language learning that underlie these methodologies. Open to all students interested in second language teaching methods.

Credits: 4

Department: Language and Culture
LAC 3400: Introduction to Spanish Linguistics

An introduction to the study of linguistics, with a focus on Spanish. Students examine the theoretical aspects of numerous subfields of linguistics—phonetics, phonology, morphology, and syntax—and begin to apply this knowledge to the fields of dialectology and sociolinguistics. Taught in Spanish.

Credits: 4

Department: Language and Culture
LAC 3430: An Introduction to Linguistics

An introduction to basic linguistic concepts, providing a background for understanding how language works and is used in everyday life. Topics include core areas of linguistics (e.g., phonetics, phonology, morphology, syntax, and semantics) and more applied areas of language study (e.g., sociolinguistics and second language acquisition).

Credits: 4

Department: Language and Culture
LAC 3880: Language and Culture Junior Seminar

Designed to develop students’ skills for the formulation, proposal, research, and execution of individual research projects

Credits: 2

Department: Language and Culture
LIT 3705: Cervantes: Don Quixote

Centers on a close reading of Don Quixote, with attention to other works of Cervantes and to his importance to European narrative as a whole.

Credits: 4

Department: Language and Culture
POR 1010: Beginning Portuguese I

For students who have had little or no previous exposure to the language. Presents the essential structures of spoken and written Portuguese by involving the student in situations that concretely represent the concepts of the language.

Credits: 4

Department: Language and Culture
POR 1020: Beginning Portuguese II

A continuation of POR1010. Increased time is devoted to reading and writing. Development of oral skills remains the primary objective of the course.

Credits: 4

PREREQ: POR1010

Department: Language and Culture
SOC 3385: Culture and Collective Memory: Latin America

Introduction to the sociology of memory, focusing on the United States and Latin America. Topics include memory and the nation, memory and race, memory, gender, and sexuality, the politics of memory, memory tourism, memorials, museums, and memory in art and popular culture.

Credits: 4

PREREQ: SOC1500 Or PSY1530 Or ANT1500 Or HIS1200 Or HIS1600

Department: Language and Culture
SPA 1010: Beginning Spanish I

For students who have had little or no previous exposure to the language. Presents the essential structures of spoken and written Spanish by involving the student in situations that concretely represent the concepts of the language.

Credits: 4

Department: Language and Culture
SPA 1020: Beginning Spanish II

A continuation of SPA 1010. Increased time is devoted to reading and writing. Development of oral skills remains the primary objective of the course.

Credits: 4

Department: Language and Culture
SPA 2010: Intermediate Spanish I

For students already familiar with the fundamentals of spoken and written Spanish. Through various reading assignments, students are given a context for discussion to increase vocabulary and speaking ease. Weekly compositions serve as an aid for grammar review.

Credits: 4

Department: Language and Culture
SPA 2020: Intermediate Spanish II

Concentrated work to help students acquire more specialized vocabulary, with an introduction to slang. Students gain greater ease in reading through a variety of texts of increasing difficulty. These texts also serve as a basis for discussion, composition, and grammar review.

Credits: 4

Department: Language and Culture
SPA 2030: Spanish for Native Speakers

For native speakers of Spanish who have had little or no formal training in the language. The focus is on expanding each student’s ability to read and write fluently, in preparation for the challenges of upper-level Spanish courses.

Credits: 4

Department: Language and Culture
SPA 2070: Intensive Intermediate Spanish

Summer (offered in Spain)For students who need to review and extend the fundamentals of spoken and written Spanish. Particular attention is given to developing fluency in conversation, increasing understanding, encouraging students to communicate in Spanish, writing clear Spanish, and reading original materials like advertisements and magazines. Various authentic materials (audio cassettes, newspapers) are used to facilitate this process.

Credits: 4

Department: Language and Culture
SPA 3015: Advanced Spanish

Introduces students to the more complex aspects of the language, while promoting oral and written fluency through a variety of materials. Excerpts from novels, plays, poetry, periodicals, and films are used to promote classroom discussions with active student participation. Frequent oral presentations and weekly compositions required.

Credits: 4

Department: Language and Culture
SPA 3070: Intensive Advanced Spanish

Summer (offered in Spain)For students who have had at least four semesters of college Spanish or the equivalent. Through selected readings on a variety of topics, students explore the more complex aspects of the Spanish language. Discussions and written work based on the readings help students attain a high level of fluency.

Credits: 4

Department: Language and Culture
SPA 3211: Spanish and Latin American Cinema

Drawing from the rich cinematography of Spain and Latin America, this course focuses on the interaction between film and culture in Latin America. Films are discussed and analyzed in the context of sociopolitical events and aesthetic movements, with emphasis on the cultural perspective.

Credits: 4

Department: Language and Culture
SPA 3240: Arte de Escribir

In this creative writing course, students write in Spanish in a variety of genres (dramatic dialogues, short fiction, and poetry). Style, dialogue, characterization, structure, and mood are explored through writing exercises and the analysis of different Latin American writers. Taught in Spanish.

Credits: 4

Department: Language and Culture
SPA 3260: Advanced Spanish Reading and Conversation

Conducted entirely in Spanish, this course focuses on reading, researching, and analyzing a variety of texts and consists primarily of literary, philosophical, and social discussions in the target language. It is designed to facilitate, improve, and develop reading and analytical skills as well as students’ confidence in their ability to speak Spanish in public. In addition to the extensive class discussions, students read two novel-length books and write two short essays in Spanish. Taught in Spanish

Credits: 4

Department: Language and Culture
SPA 3320: Masterpieces of Hispanic Poetry

The history of Hispanic poetry is examined through readings of its major poets from the Middle Ages through the modern period. Taught in Spanish

Credits: 4

Department: Language and Culture
SPA 3340: Advanced Culture and Conversation

Students study essays, films, and short fiction in Spanish to advance their knowledge of Hispanic cultures and to develop advanced skills in conversation, reading, and composition.

Credits: 4

Department: Language and Culture
SPA 3365: Languages and Cultures of Spanish-Speaking Countries

Students explore the various languages and cultures that exist in Spanish-speaking countries. In general terms, the course is structured in two blocks: (1) Iberian Peninsula, pre- and post-Indo-European invasion; and (2) Latin America, pre- and post-Spanish invasion.

Credits: 4

Department: Language and Culture
SPA 3450: The Structure of Spanish: Grammar, Morphology, and Syntax

An introduction to the structural analysis of Spanish, focusing on grammar, morphology, and syntax. Students examine the set of structural rules governing the composition of words (derivational and inflectional morphology) and phrases (constituents, word order, sentence structure).

Credits: 4

Department: Language and Culture
SPA 3600: Spanish Literature: Middle Ages to the Baroque

An introduction to the thought, art, and history of Spain from the Middle Ages to the Baroque through close readings of major literary texts. Readings include the medieval epic (Poem of the Cid), the traditional ballad (Romancero), the early novel (La Celestina, Lazarillo de Tormes), Cervantes, and the classic theatre. Taught in Spanish.

Credits: 4

Department: Language and Culture
SPA 3610: Modern Spanish Literature

Major literary and social movements of 19th- and 20th-century Spain: Romanticism, the realist novel, the generations of 1898 and 1927, and the Civil War are central. Authors include Bécquer, Galdos, Unamuno, Ortega y Gasset, and Lorca. Taught in Spanish.

Credits: 4

Department: Language and Culture
SPA 3630: The Modern Latin American Novel

Major novels of 20th-century Latin America and their literary and social contexts. Authors include Guiraldes, Carpentier, Cortàzar, and García Márquez. Taught in Spanish.

Credits: 4

PREREQ: SPA3015

Department: Language and Culture
SPA 3687: The Idea of Latin America

Who had the idea to name part of the world “Latin America”? What makes it “Latin”? Who has an interest in this definition? Who is included and who isn’t? This course asks these questions and others through readings of texts by Bolívar, Martí, Mariátegui, and others.

Credits: 4

Department: Language and Culture
SPA 3700: The Latin American Short Story

Selected examples drawn from the significant number of Latin American writers who have made some of their most interesting contributions in this short form. Selected works from 19th- and 20th-century writers are read closely. Taught in Spanish.

Credits: 4

Department: Language and Culture
SPA 3715: Modern Hispanic Theatre

In this examination of the modern theatre of Spain and Latin America, students read and analyze plays from Spanish-speaking countries in their aesthetic and cultural contexts. When possible, students perform scenes from some of the plays.

Credits: 4

Department: Language and Culture
SPA 3730: Translation Theory

Students are introduced to the theory of translation, as it has developed over time and has dealt with questions from linguists, poets, anthropologists, and gender theorists. Taken in conjunction with SPA 3735.

Credits: 2

COREQ: SPA3735

Department: Language and Culture
SPA 3735: Spanish Translation

Students produce, refine, evaluate, and reflect on translations from Spanish to English and English to Spanish. Particular emphasis on the translation of fiction and poetry. Taken in conjunction with SPA 3730.

Credits: 2

COREQ: SPA3730

Department: Language and Culture
SPA 3800: Translation Workshop: Spanish

Begins with a brief presentation of some theoretical aspects of translation, after which students become directly involved in translating both from English to Spanish and from Spanish to English. Literary texts representing a wide variety of styles are selected. Particular attention is given to idiomatic aspects of each language.

Credits: 4

PREREQ: SPA3016

Department: Language and Culture

Latin American Studies

https://www.purchase.edu/academics/college-catalog/?program=Latin+American+Studies

Description:

The major in Latin American studies at Purchase College is designed as a multidisciplinary immersion experience that prepares students for life in a globalized world.

Along with an introductory course on Latin American history, students are required to take courses in at least two different disciplines, drawing from courses on or related to Latin America in the social sciences, the humanities, or the arts. All students are required to have or to attain language proficiency, defined as the equivalent of five semesters in Spanish, French, or Portuguese.

Experiential learning is a central and distinctive feature of this major: all students fulfill this requirement by completing a service-learning project or an internship in a local Latin American/Latino community, school, or nonprofit, or through a study abroad program. Students synthesize this experiential learning with the knowledge gained from their coursework in an in-depth, two-semester senior project.

Graduates of this program will be able to demonstrate knowledge of Latin American history, geography, cultural traditions and innovations, political structures, and social issues and will possess an in-depth awareness of Latin America’s diversity as well as its role in global processes.

What can you do with a degree in Latin American studies?

Opportunities exist in a wide variety of fields, nationally and internationally. In a world that is increasingly transnational and cross-racial, individuals with a solid knowledge of Spanish, French, and/or Portuguese and an understanding of Latin American and Latino history and major contemporary issues, including immigration, are needed for this century’s jobs and careers.

In addition, with Latin American immigrant communities increasing in number throughout the U.S., there is a broad range of career and volunteer options available. Internationally, options include positions in government and in nongovernmental for-profit and nonprofit organizations.

Students are also encouraged to double-major in another program to increase their opportunities after graduation.

Requirements:

In addition to meeting general degree requirements, all Latin American studies majors must complete the following requirements (37–43 credits):

  • Foreign language proficiency
    This major requires proficiency in Spanish, French, or Portuguese, equivalent to five semesters of the language. Students can fulfill this proficiency in any of the following ways:
    1. through an exemption based on an assessment of proficiency in Spanish, French, or Portuguese by a member of the faculty
    2. through successful completion of a course conducted in Spanish or French at or above the advanced language level
    3. through successful completion of the minor in Spanish or French
  • HIS 1600/Introduction to Latin American Studies: 3 credits
  • Six approved electives in Latin American and Latino studies (18–24 credits)
    Students must take six approved electives that are directly related to Latin America or Latino studies, as outlined below. Up to four credits of an advanced-level language course may be used toward this requirement. Approved courses offered in the target language in which the main focus is on literary, cultural, or historical subject matter are not subject to the four-credit restriction.
    • Two electives chosen from courses in anthropology, environmental studies, political science, and/or sociology
    • Two electives chosen from courses in language and culture, history, and/or literature
    • Two electives chosen from courses in art history and/or cinema studies
    Students should consult with their faculty advisor to determine if a course from another discipline is an appropriate elective.
  • One of the following methods courses: 4 credits
    SOC 3405/Research Methods
    ANT 3560/Fieldwork: Qualitative Methods
    HIS 3880/Junior History Seminar
    Or a designated upper-level course in the humanities or the arts that provides senior project preparation, to be chosen in consultation with the faculty advisor
  • Experiential learning—one of the following: 4 credits
    LST 3050/Experiential Learning in Latin American Studies
    LST 3995/Internship in Latin American Studies
    Or an approved study-abroad program
  • SPJ 4990/Senior Project I: 4 credits
  • SPJ 4991/Senior Project II: 4 credits
 Examples of Electives
Art History (School of Humanities):
ARH 3335/Latin American Art in the Age of Globalization
ARH 3815/Mexican Art From the Revolution to the NAFTA Era
ARH 4590/Pre-Columbian Aesthetics in Modern Latin American Art
 
Cinema Studies (School of Film and Media Studies):
CIN 3000/Cinema and Revolution
CIN 3080/Mexican Cinema
CIN 3245/Latin American Cinema
 
Economics (School of Natural and Social Sciences):
ECO 2223/Economies of Latin America
 
Environmental Studies (School of Natural and Social Sciences):
ENV 3420/Tropical Ecosystems
 
French (School of Humanities):
FRE 3067/French Caribbean Literature
 
History (School of Humanities):
HIS 2005/Modern Latin America
HIS 2170/Colonial Latin America
HIS 2215/Latinos and Cities in the Americas
HIS 2540/Society and Culture in Modern Brazil
HIS 3005/Representations of Latinos and Latinas in American Film, 1930–2000
HIS 3085/Cities and Citizenship in the Americas (added Fall 2018)
HIS 3395/Nation and Revolution in Latin America
HIS 3555/African Diasporas in the Americas
HIS 3625/Slaves and Enslavement in the Americas
HIS 3685/Sex and Gender in Latin America
HIS 3855/Oral History Workshop
 
Literature (School of Humanities):
LIT 3685/Modern Novel of Latin America
 
Music (Conservatory of Music):
MTH 2230/World Music and Jazz Traditions
 
Political Science (School of Natural and Social Sciences):
POL 3130/Immigration: Policies, Problems, and Politics
POL 3300/Development and Politics of Latin America
POL 3307/Politics and Memoir
POL 3340/U.S./Latin American Relations
POL 3361/Cuba, Latin America, and the U.S.
POL 3570/Human Rights
 
Sociology (School of Natural and Social Sciences):
SOC 1030/Cultural Activism in Latin America
SOC 3056/Global Social Movements
SOC 3661/Border Wars and Transnational Human Rights
SOC 3725/Globalization, Culture, Social Change: Latin America
 
Spanish (School of Humanities):
SPA 3211/Spanish and Latin American Cinema
SPA 3365/Languages and Cultures of Spanish-Speaking Countries*
SPA 3370/Lettered Cities: The Literatures of Latin American Cities
SPA 3630/The Modern Latin American Novel*
SPA 3687/The Idea of Latin America
SPA 3700/The Latin American Short Story*
*Taught in Spanish
 
Theatre and Performance (Conservatory of Theatre Arts):
THP 3650/Contemporary U.S. Latino Theatre

Minor requirements:

The minor in Latin American studies is designed to provide students with a basic interdisciplinary grounding in the culture, history, and politics of Latin America.

Students interesting in pursuing this minor must submit a completed Application for a Program of Minor Study. Because new courses may be added to the curriculum from time to time, students should also consult with the coordinator of the Latin American studies program.

Recommended: Basic Spanish

Academic Requirements for the Minor in Latin American Studies

Five courses, as follows:

  1. HIS 1600/Introduction to Latin American Studies
  2. Plus four electives in Latin American studies

Elective Courses

Examples of elective courses available for the minor in Latin American studies are listed under the academic requirements for the major.

 

Faculty

  • Associate Professor of Sociology
    • BA, Colorado College
    • MA, PhD, University of North Carolina, Chapel Hill
  • Alex Gordon Curator of Art of the Americas, Neuberger Museum of Art
    • MA, Universidad Nacional Autonoma de Mexico
    • BA, MA, PhD, University of Montreal
  • Professor of Sociology
    • BA, MA, MPA, PhD, Syracuse University
  • Associate Professor of Cinema Studies
    Chair, School of Film and Media Studies
    • BA, Universidad Iberoamericana (Mexico)
    • MA, New York University
    • PhD, University of California, Los Angeles
  • Assistant Professor of History
    • BA, University of Buenos Aires (Argentina)
    • PhD, University of Maryland, College Park
  • Associate Professor of Latin American History
    • BA, University of Buenos Aires (Argentina)
    • PhD, University of Maryland
  • Associate Professor of Spanish and Literature
    • BA, Columbia University
    • PhD, University of Pennsylvania

Contributing Faculty

  • Alex Gordon Curator of Art of the Americas, Neuberger Museum of Art
    • MA, Universidad Nacional Autonoma de Mexico
    • BA, MA, PhD, University of Montreal

Courses

ARH 3335: Latin American Art in the Age of Globalization

Focuses on contemporary Latin American artists working in and out of Latin America: Gabriel Orozco, Guillermo Gomez Peña, Adriana Varejao, Teresa Margolles, Carlos Garaicoa, Betsabeé Romero, Javier Tellez, Nadín Ospina, Tania Bruguera, and Nicolás de Jesus. Students analyze the way these artists address such questions as urban violence, social inequality, pollution, emigration, and national identity.

Credits: 4

Department: Latin American Studies
ARH 3815: Mexican Art From the Revolution to the NAFTA Era

A broad look at modern and contemporary Mexican art, using an interdisciplinary and comparative approach. Special emphasis is on the Mexican Revolution (1910–1920) and its aftermath throughout the 20th century. Students analyze links between the visual arts (including mural painting, prints, and photography) and the literature, the popular scene and the mainstream, the street art and the gallery art.

Credits: 4

Department: Latin American Studies
ARH 4590: Pre-Columbian Aesthetics in Modern Latin American Art

Since the late 1800s, pre-Columbian art and history have inspired Latin American artists. This course investigates that phenomenon through an in-depth study of the work of individual artists, including Diego Rivera and Frida Kahlo, as well as more contemporary figures. Students are also introduced to pre-Columbian art and architecture.

Credits: 4

Department: Latin American Studies
CIN 3000: Cinema and Revolution

Third cinema was a movement proposed by Latin American directors in the 1960s and further developed by African directors in the 1970s. It addresses important questions about independent national cinemas, colonialism, race, and identity. This course examines the movement and its global influence, with emphasis on the cinemas of Latin America, Africa, black Britain, and American minorities.

Credits: 4

PREREQ: CIN1500 And CIN1510

Department: Latin American Studies
CIN 3080: Mexican Cinema

A survey of the history of Mexican cinema from the early 1930s to the present. Students examine popular genres like la comedia ranchera (Mexican cowboy musical), el género cabaretil (dancehall film), and el cine de luchadores (wrestling film) as well as the work of the most prominent Mexican filmmakers (e.g., Arturo Ripstein, Jaime Humberto Hermosillo, Nicolás Echeverría, María Novaro, Guillermo del Toro).

Credits: 4

Department: Latin American Studies
CIN 3245: Latin American Cinema

Drawing from the rich cinematography of Latin America, this course focuses on the interaction between film and culture in Latin America. Students discuss and analyze films in the context of sociopolitical events and aesthetic movements, with emphasis on the cultural perspective.

Credits: 4

PREREQ: CIN1500 And CIN1510

Department: Latin American Studies
ECO 2223: Economies of Latin America

An overview of economic conditions in Latin America and the Caribbean, with a focus on competing strategies for national and regional development. Topics include the consequences of the region’s deepening immersion in the global economy; its investment, trade, and labor-market ties to the U.S. economy; and the roots of its principal socioeconomic conflicts.

Credits: 4

Department: Latin American Studies
ENV 3420: Tropical Ecosystems

A field-based course in Costa Rica, surveying the diversity of tropical ecosystems and the challenges of balancing development and conservation. Students visit rainforest, dry forest, cloud forest, marsh, paramo, and agroecosystems, including coffee and banana plantations. The history and current state of conservation in the country are addressed in discussions with Costa Rican park guards, farmers, and foresters. Limited to sophomores, juniors, and seniors with a GPA above 2.5. Must be in good enough physical condition to hike 1–2 hours with a backpack.

Credits: 4

PREREQ: ENV1500 Or BIO1560 Or BBI1560

Department: Latin American Studies
FRE 3067: French Caribbean Literature

A study of major developments in French Caribbean literature of the 19th through 21st centuries. This course focuses on questions of language, race, gender, geography, and class, with emphasis on local, regional, and global frames of reference.

Credits: 4

Department: Latin American Studies
HIS 1600: Introduction to Latin American Studies

An introductory survey of the history of Latin America from colonial times to the present. Topics include geography, indigenous peoples, colonization and nation formation, society, politics, economy and culture of contemporary Latin America, and its place in today’s world.

Credits: 4

Department: Latin American Studies
HIS 2005: Modern Latin America

Explores major social, cultural, economic, and political developments in Latin America from the period following the Wars of Independence to the present. The historical roots of such problems as racism, persistent poverty, and political repression are examined, focusing on “subaltern” groups (e.g., peasants, workers, women, and people of color).

Credits: 4

Department: Latin American Studies
HIS 2170: Colonial Latin America

An introductory survey of the history of the Spanish and Portuguese conquest and colonization of the Americas from 1450 to 1810, i.e., from the late preconquest period to the Latin American struggle for independence. Lectures, readings, and discussions provide an overview of the economic, political, social, and cultural dimensions of colonization.

Credits: 4

Department: Latin American Studies
HIS 2215: Latinos and Cities in the Americas

Focuses on the history of Latinos in urban centers across the U.S. and Latin America. Students explore how Latinos established and maintained distinctive social and cultural identities in the Americas. The historical definition of “Latinidad” is also discussed through the study of colonization, immigration, diaspora, globalization, and the history of the racialization of Latin American descendants.

Credits: 4

Department: Latin American Studies
HIS 2540: Society and Culture in Modern Brazil

Covers the history of Brazil from independence to the present. During this period, Brazil has transformed from a colonial, agrarian, slave society to a predominantly urban, industrialized nation and an aspiring world power. Students explore slavery, racism, urban life, immigration and industrialization, changing gender roles, political repression and military rule, carnaval and popular culture.

Credits: 4

Department: Latin American Studies
HIS 3005: Representations of Latinos and Latinas in American Film, 1930–2000

Cinematic representations of Latinos and Latinas are explored as crucial elements in the configuration of “America” as a national community, taking into account key historical moments in the relationship between the United States and Latin America.

Credits: 4

Department: Latin American Studies
HIS 3085: Cities and Citizenship in the Americas

Focuses on the relationship between cities, urban life, and form, and the construction of social and political rights in the Americas. The emphasis is on how cities and citizenship are mutually constituted historically, looking at ideas and policies that regulate the city, and how urbanites produce and consume urban space and claim their rights as citizens and urban residents.

Credits: 4

Department: Latin American Studies
HIS 3395: Nation and Revolution in Latin America

Introduces students to cultural and political history in Latin America from the end of World War I to the Sandinista Revolution in 1979. Focusing on the role of intellectuals, students explore debates on nationalism, immigration, culture, modernization, and development in the context of the consolidation of new Latin American states, the Alliance for Progress, the Chinese and Cuban Revolutions, and the student and guerrilla movements.

Credits: 4

Department: Latin American Studies
HIS 3555: African Diasporas in the Americas

While many African-descended peoples throughout the world identify with a particular nationality—being Brazilian or Cuban, for example—many have also forged connections with each other across national boundaries and have recognized commonalities that transcend national contexts. To comprehend their shared experiences, students explore the history of the linkages created by Afro-Latin Americans and Afro-North Americans in the 19th and 20th centuries, using fiction, memoir, and recent historical scholarship.

Credits: 4

Department: Latin American Studies
HIS 3685: Sex and Gender in Latin America

Examines the new historiography on gender and sexuality in Latin America. It is organized around the themes of changing gender roles and shifting constructions of masculinity, femininity, and honor, with particular attention to issues of sexuality, sexual preferences, constraints, and transgressions.

Credits: 4

Department: Latin American Studies
HIS 3855: Oral History Workshop

Develops students’ interviewing and interpretive skills in the field of oral history. Students learn the theory and methodology and work on a final research project that seeks to bring forward the voices of those frequently excluded from more typical historical sources. Students also learn to produce archival quality interviews, and the final project includes some form of public presentation.

Credits: 4

Department: Latin American Studies
LIT 3685: Modern Novel of Latin America

Major works of the most celebrated Latin American novelists, such as Cortàzar, García Márquez, Carpentier, and Guiraldes, emphasizing the cultural and social contexts from which these novels spring. Although this is a literature course taught in English, students with competent Spanish language skills are encouraged to read the works in the original and write their papers in Spanish.

Credits: 4

Department: Latin American Studies
LST 3050: Experiential Learning in Latin American Studies

Students select from an array of experiential options in Latin American studies in consultation with their Latin American studies advisor. Options include service learning, independent study, study abroad, and Project Focus.

Credits: 4

Department: Latin American Studies
POL 3307: Politics and Memoir

A study of memoirs by male and female authors, politicians, activists, and ordinary citizens describing childhood, communities, social changes, and revolutions. Works are drawn from South Africa, South America, Asia, Cuba, and the U.S. The rubric is the non-West’s interaction with the West, a north-south divide.

Credits: 4

Department: Latin American Studies
POL 3361: Cuba, Latin America, and the U.S.

The course revolves around the international political and economic dynamics that have existed historically between the U.S. and Cuba. Although the course emphasizes the post-1959 era (the Castro years), readings introduce students to the imperial relationship that evolved in the early 20th century. Topics include foreign policy, war, human rights, the U.S. embargo, and the politics of Fidel Castro.

Credits: 4

Department: Latin American Studies
POL 3570: Human Rights

Although human rights have become a significant theme in international relations, ethnic slaughter and political repression continue to afflict the world. This course examines relevant theoretical issues and practical problems, including: How are human rights viewed from different cultural, political, and religious perspectives? In a multicultural world, can common ground be found to address human rights? What is the relationship between sovereignty and the pursuit of human rights?

Credits: 4

Department: Latin American Studies
SOC 1030: Cultural Activism in Latin America

What does Latin American hip-hop have to do with social change? How do murga dances in Argentina and Uruguay or “theatre of the oppressed” performances in Brazil challenge “social authoritarianism”? Why are Greenpeace campaigns so successful in raising awareness about the Amazon? Why are carnivals in Oruro, Bolivia, or in Santiago del Estero, Argentina, still so lively and engaging? This course explores the relationship between activism and “culture” in different Latin American countries.

Credits: 3

Department: Latin American Studies
SOC 3056: Global Social Movements

How do groups mobilize to act for social change and against injustice? This course focuses on contemporary movements that emerge within and outside the United States, e.g., in Latin America. Case studies focus on human rights, feminism, environmentalism, landless rural workers, indigenous peoples, and global justice movements, with a particular focus on how these movements emerge, (re)create their identities, and frame injustice. The class analyzes how 21st-century movements are both global and local.

Credits: 4

PREREQ: SOC1500 Or CSO1500

Department: Latin American Studies
SOC 3661: Border Wars and Transnational Human Rights

An examination of the various causes and consequences of international migration on migrants, their sending communities, and their destination countries. Topics include immigration debates, the social structures and economic and social conditions that facilitate labor migration, undocumented migration, refugee migration and forced migration. New York is an amazing place to explore migration, providing firsthand knowledge about migrant communities.

Credits: 4

PREREQ: SOC1500 Or CSO1500 Or ANT1500 Or CAN1500

Department: Latin American Studies
SOC 3725: Globalization, Culture, Social Change: Latin America

A global sociological examination of the contemporary debates and studies concerning the social organization of cultures that transcends national boundaries. This course examines the highly debated concept of globalization by studying transnational social organizations and the distinctive dynamics of global political economy and culture. Topics include colonialism and postcolonialism, social movements and social change, social inequality, labor, human rights, democracy, global capitalism, urbanization, and cultural identity.

Credits: 4

PREREQ: SOC1500 Or CSO1500

Department: Latin American Studies
SOC 4025: Critical Race Theory

An advanced seminar in critical race studies specifically designed for juniors and seniors interested in reading theory, history, and research. Focuses on key works that have defined the field and shaped understandings of race in the 21st century, including those of Du Bois, Wacquant, Fanon, hooks, Crenshaw, Davis, Hall, and Said.

Credits: 4

PREREQ: SOC1500

Department: Latin American Studies
SPA 3211: Spanish and Latin American Cinema

Drawing from the rich cinematography of Spain and Latin America, this course focuses on the interaction between film and culture in Latin America. Films are discussed and analyzed in the context of sociopolitical events and aesthetic movements, with emphasis on the cultural perspective.

Credits: 4

Department: Latin American Studies
SPA 3365: Languages and Cultures of Spanish-Speaking Countries

Students explore the various languages and cultures that exist in Spanish-speaking countries. In general terms, the course is structured in two blocks: (1) Iberian Peninsula, pre- and post-Indo-European invasion; and (2) Latin America, pre- and post-Spanish invasion.

Credits: 4

Department: Latin American Studies
SPA 3630: The Modern Latin American Novel

Major novels of 20th-century Latin America and their literary and social contexts. Authors include Guiraldes, Carpentier, Cortàzar, and García Márquez. Taught in Spanish.

Credits: 4

PREREQ: SPA3015

Department: Latin American Studies
SPA 3687: The Idea of Latin America

Who had the idea to name part of the world “Latin America”? What makes it “Latin”? Who has an interest in this definition? Who is included and who isn’t? This course asks these questions and others through readings of texts by Bolívar, Martí, Mariátegui, and others.

Credits: 4

Department: Latin American Studies
SPA 3700: The Latin American Short Story

Selected examples drawn from the significant number of Latin American writers who have made some of their most interesting contributions in this short form. Selected works from 19th- and 20th-century writers are read closely. Taught in Spanish.

Credits: 4

Department: Latin American Studies
THP 3650: Contemporary U.S. Latino Theatre

Engaging with a wide variety of plays and performances, students explore U.S. Latino theatre as a site of personal, cultural, and political intervention. Readings reflect the aesthetics, narratives, historical contexts, and systems of theatrical production pertinent to Latino culture in the U.S.

Credits: 4

Department: Latin American Studies

Liberal Arts

https://www.purchase.edu/academics/college-catalog/?program=Liberal+Arts

Description:

Students who wish to pursue an individualized, interdisciplinary program of study that cannot be accommodated within another major at Purchase College may apply for admission to the Bachelor of Arts in liberal arts (BALA) program.

Each student works closely with two or more faculty sponsors from different disciplines to design a course of study that meets both the specialized interests of the student and the academic standards of the college.

This degree program appeals especially to students interested in constructing highly individualized and innovative major areas of study. Some examples include bioethics, Mediterranean studies, philosophy of science, and choreography of literature. Students may also work with the faculty in established programs currently offering minors, which could provide core coursework that serves as a basis for a major.

Requirements:

Students in this program must meet general degree requirements for the BA.

Students design a proposed curriculum for the major in collaboration with two or more faculty sponsors. This proposal is reviewed by the BALA committee, which may include faculty representatives from the School of Liberal Arts and Sciences and the School of the Arts. Although individualized in nature, all proposals must:

  1. include relevant theoretical and methodological courses in the proposed area(s) of study
  2. incorporate the teaching specialties of the Purchase College faculty
  3. demonstrate why established majors or programs of study at Purchase College cannot accommodate the student’s needs

A senior project is required of all BALA students. Approval of the proposal may be contingent upon inclusion of additional courses recommended by the BALA committee.

Representative Courses

Courses span the entire curriculum at Purchase College, according to the student’s specific area of interdisciplinary study.

Questions? Contact the faculty coordinator of the BALA program.


Faculty

  • Associate Professor of Literature
    • BA, Brandeis University
    • PhD, Yale University

Literature

https://www.purchase.edu/academics/college-catalog/?program=Literature

Description:

Students majoring in literature at Purchase College learn to read texts closely and critically and to understand literature in relation to the social and historical conditions in which it is written and read.

Program Highlights

  • The principal focus of the major is British and American literature; the program places these national literatures in an international frame. Thus, students may count toward the major courses in French, Spanish, and other literatures, in translation or in the original language.
     
  • In addition to courses in traditional literatures, students may take courses in contemporary literature, theatre, popular culture, and film.
     
  • Feminist inquiry, the critical study of race, and other theoretical or interdisciplinary approaches are central to the literature curriculum.
     
  • In learning to read, write, and think about literature and the world it reflects, inhabits, and creates, students gain valuable preparation for advanced academic study and for the professional world.

Requirements:

In addition to meeting general degree requirements, literature majors must complete a minimum of 10 literature courses, plus an 8-credit senior project, as outlined below.

  • LIT 2450/Colloquium I: Studies in Literature*
    *Generally taken in the second year; transfer students who want to major in literature must complete this course during their first semester at Purchase.
  • Three courses in the literature sequence (courses that emphasize issues of history and period): One each from sequence I (before 1750), II (1750–1900), and III (1900–present)
  • One course in Shakespeare
  • At least three elective literature courses (see notes below)
  • LIT 4450/Colloquium II: Advanced Studies in Literature*
    *Generally taken in the second semester of the junior year
  • LIT 4885/Senior Project Seminar
  • SPJ 4990/Senior Project I
  • SPJ 4991/Senior Project II

Of the 10 literature courses:

  • No more than two may be taken through the School of Liberal Studies & Continuing Education, with permission of advisor.
  • At least five must be at the 3000 or 4000 level (LIT 4450 counts toward this requirement; LIT 4885 does not).
  • At least four must be taken at Purchase College.
  • Students may not use the required Shakespeare course to satisfy the Sequence I requirement. For example, THP 2205 may be taken to fulfill the Sequence I requirement or the Shakespeare course requirement, but not both.
  • Certain courses in language and culture and in theatre and performance (THP prefix) may fulfill the requirements. These courses are cross-referenced in the list of literature courses.
  • Students may count toward the major up to 8 credits of writing courses at the 3000 or 4000 level. Writing courses at the 2000 level may not be counted toward the major requirements.
  • All courses taken to satisfy major requirements, excluding the senior project, must be completed with a grade of C or higher.

 Course Sequences for the Major and Minor

For the minor in literature: Comparative literature courses in the sequences are indicated with an asterisk.

 Sequence I: Before 1750
HIS 2120/Princes, Priests, and Peasants*
LIT 2080/The Ancient Epic*
LIT 3127/Early Modern English Poetry
LIT 3140/Medieval English Literature*
LIT 3142/Chivalry and Romance (added Fall 2017)
LIT 3150/Chaucer
LIT 3155/Renaissance in England
LIT 3160/Literature of the High Middle Ages*
LIT 3220/The Renaissance in Europe*
LIT 3250/Milton
LIT 3825/British Poetry I: Beginnings to 1650
LIT 4050/The Bible in Medieval and Early Modern Literature*
LIT 4180/Dante and Medieval Culture*
PHI 3205/Shakespeare and Philosophy
SPA 3705/Cervantes (in English)
THP 2205/Shakespeare Then and Now*
THP 2885/Theatre Histories I*
THP 3140/Medieval and Renaissance English Drama*
 Sequence II: 1750–1900
LIT 2375/Classics of European Fiction*
LIT 2560/Survey of U.S. Literature I*
LIT 2570/Survey of U.S. Literature II
LIT 3003/Dostoevsky and Tolstoy*
LIT 3082/19th-Century British Literature and Empire
LIT 3121/Comparative 19th-Century Novel*
LIT 3271/The Age of Reason
LIT 3315/The 19th-Century Novel in the U.S.
LIT 3320/The 19th-Century British Novel
LIT 3330/Romanticism I
LIT 3340/Romanticism II
LIT 3355/Romanticism and Empire
LIT 3369/Victorian Poetry
LIT 3540/Emerson
LIT 3581/Realism and Naturalism in U.S. Literature
LIT 3630/Melville
LIT 3673/Austen
LIT 4675/George Eliot and Henry James
LIT 4685/Whitman and Dickinson
 Sequence III: 1900–Present
HIS 3180/British Culture and Society in the 20th Century
HIS 3424/Modern and Postcolonial France*
FRE 3710/Classics of French Literature on Film
JST 3709/Theatrical Representations of the Holocaust*
LIT 1190/Modernism: The 20th Century*
LIT 2195/Italian American Literature and Popular Culture
LIT 2675/Literature and the City*
LIT 2825/Modernism and the Metropolis*
LIT 2872/The Golden Land: American Jewish Literature and Film
LIT 3007/Visions of Dystopia (added Spring 2018)
LIT 3043/Toni Morrison (added Fall 2017)
LIT 3093/Immigration and Ethnicity in U.S. Literature
LIT 3195/The Vietnam War in U.S. Literature and Film
LIT 3215/South Asian Literature*
LIT 3226/Literature of Decolonization in South Asia* (reinstated Spring 2018)
LIT 3265/Kafka
LIT 3266/Kafka to Roth*
LIT 3310/Modern Poetry in the U.S. and Latin America*
LIT 3380/Literature of the Harlem Renaissance
LIT 3415/Global Metafictions*
LIT 3420/Modern Poetry*
LIT 3427/20th-Century World Literature (added Fall 2017)
LIT 3432/The Roaring Twenties
LIT 3490/James Joyce
LIT 3555/Modern British Literature
LIT 3575/Virginia Woolf
LIT 3605/Jazz and the Literary Imagination
LIT 3633/The Beat Generation (added Fall 2017)
LIT 3635/Reviewing the Contemporary Novel
LIT 3680/Surrealism and Its Legacy*
LIT 3685/Modern Novel of Latin America (in English)*
LIT 3695/Contemporary U.S. Literature
LIT 3721/Contemporary Jewish American Fiction (added Spring 2017)
LIT 3725/Literature of the Holocaust*
LIT 3745/Identity and Self-Fashioning
LIT 3839/The Modern Novel*
LIT 3845/Zora Neale Hurston
LIT 4190/Williams and Faulkner
LIT 4240/Science Fiction (added Fall 2017)
LIT 4690/Contemporary U.S. Poetry
SPA 3370/Lettered Cities: The Literatures of Latin American Cities
THP 2600/American Drama: From O’Neill to Albee
THP 3495/Black American Drama
THP 3690/American Theatre in Our Time
THP 3750/European Drama in Our Time*
 Examples of Other Comparative Literature Courses

Please note that these courses do not fulfill the sequence requirement.
 
FRE 3067/French Caribbean Literature
LAC 3250 Space as Construction
LIT 1065/Only Connect: Difference and Otherness in Literature (added Fall 2017)
LIT 1140/The West and Others
LIT 1150/Border Crossings
LIT 2387/Literature of the South Asian Diaspora
LIT 2590/Mythologies (added Fall 2017)
LIT 3025/Women and Film
LIT 3047/Literature and Film of the Arab-Israeli Conflict
LIT 3157/Novel Pairings
LIT 3396/Fiction of Eastern Europe
LIT 3427 20th Century World Literature
LIT 3676/Short Narrative
LIT 3940/Literature of War
PHI 2835/Happiness: Philosophy, Film, Literature
POL 3307/Politics and Memoir
SPA 3687/The Idea of Latin America
THP 3250/Theories of Drama and Performance
THP 3427 European Drama in Our Time


Updates to the 2016–18 Purchase College Catalog:

Language and notes revised to clarify requirements (no curricular revision), 03/23/17 and 4/05/17

Effective Spring 2017:

  • LIT 3890/Literature Junior Seminar (1 credit) is no longer required (discontinued).

Minor requirements:

The minor in literature is designed to provide students with an opportunity to study literature in a comparative context. 

Students interested in the minor should submit a completed Application for a Program of Minor Study to the faculty coordinator of the Literature Board of Study.

Academic Requirements for the Minor in Literature

Five courses in English and comparative literature, as follows:

  1. A maximum of two 2000-level courses or
    one 1000-level and one 2000-level course
  2. At least three upper-level (3000- or 4000-level) courses
  3. Of the five courses, two must chosen from two different literature sequences.
  4. Of the five courses, one must be comparative.

Faculty

  • Lecturer in Literature
    • BA, Purchase College, SUNY
    • MAT, Manhattanville College
  • Lecturer in Literature

    MA,  Hunter College, CUNY
    BA, St. John’s University

  • Associate Professor of Spanish and Literature
    • BA, Columbia University
    • PhD, University of Pennsylvania
  • Lecturer in Literature

    M.A in English, Fordham University
    B.A in Literacy Studies,  Eugene Lang College ( The New School)

  • Associate Professor of Literature
    • BA (Honors), University of Delhi (India)
    • MA, MPhil, PhD, Columbia University
  • Assistant Professor of Literature
    • BA, Queens College, City University of New York
    • MA, PhD, Columbia University
  • Lecturer in Jewish Studies
    • BA, Brooklyn College, City University of New York
    • MA, PhD, University of North Carolina, Chapel Hill
  • Lecturer in Literature

    BA Hampshire College (Comparative Literature)
    MA University of Rhode Island (English)
    PhD University at Buffalo (Comparative Literature)

  • Associate Professor of Literature
    • AB, Harvard University
    • MA, MPhil, PhD, Yale University
  • Lecturer in Literature

    BA, Williams College
    MA, Columbia University

  • Professor of Literature

    BA, Yale University MA, PhD, Rutgers University

  • Professor of Literature and Pedagogy
    • BA, Boston College
    • MA, PhD, University of Connecticut
  • Lecturer in Literature
    • BA, Purchase College, SUNY
    • MA, Columbia University
  • Associate Professor of Literature
    • BA, Brandeis University
    • PhD, Yale University
  • Associate Professor of Literature and Writing
    Chair, School of Humanities
    • BA, MA, PhD, Columbia University
  • Distinguished Professor of Literature and Cultural Studies
    • BA, MA, University of Auckland (New Zealand)
    • PhD, University of Cambridge (England)

Courses

CIN 3533: Race and Representation: U.S. Literature and Film

Racial imagery in the U.S., from the minstrel era to the present, is examined. Students interrogate the mythologies of this imagery as depicted in U.S. literature and film; rethink key analytical categories in cinema and literary studies in light of U.S. race history (genre and spectatorship); and study the racial uses of and meanings behind certain technical innovations in U.S. literature and filmmaking.

Credits: 4

Department: Literature
FRE 3067: French Caribbean Literature

A study of major developments in French Caribbean literature of the 19th through 21st centuries. This course focuses on questions of language, race, gender, geography, and class, with emphasis on local, regional, and global frames of reference.

Credits: 4

Department: Literature
FRE 3230: The Island as Laboratory

Islands, because of their size and supposed isolation, have been the site of environmental and military experiments. Similarly, writers have used the island to build a textual laboratory in order to test their philosophical and narrative experiments. In this course, students will look at novels (including graphic novels) to examine this scientific, military and narrative instrumentalization of the island.

Credits: 4

Department: Literature
FRE 3710: Classics of French Literature on Film

How does the cinema adapt a text, and what are the questions underlying these semiological, ideological, or technical choices? Students read the literature (i.e., Cyrano de Bergerac, Madame Bovary) and view the films. Although this course is taught in English, the films are in French, and students who can read the literature in French are encouraged to do so.

Credits: 4

Department: Literature
HIS 3180: British Culture and Society in the 20th Century

A team-taught course in British society and cultural development from World War I to the present, examined from the different perspectives of literature and history. Topics include war and social change, construction of class and gender, evolution of the state, intellectuals and politics, popular culture since 1945, feminism, and immigration and race. Readings in history and the works of such authors as Virginia Woolf are complemented by the viewing of films.

Credits: 4

Department: Literature
HIS 3365: Global Modernity: Empire and Its Aftermaths

An exploration of the legacies of imperialism through the dual perspectives of history and literature. Readings include literary and historical texts, films, and essays that illuminate the key terms: global, empire, and modern.

Credits: 4

Department: Literature
HIS 3424: Modern and Postcolonial France

Twentieth-century social, political, and cultural life in France and French (ex-) colonies in the Caribbean and Africa are examined through history, literature, and film. Topics include Paris as an intellectual center, France under German occupation, modernization and consumerism, family life and gender roles, decolonization, and multiculturalism and changing definitions of what it means to be French.

Credits: 4

Department: Literature
HIS 3555: African Diasporas in the Americas

While many African-descended peoples throughout the world identify with a particular nationality—being Brazilian or Cuban, for example—many have also forged connections with each other across national boundaries and have recognized commonalities that transcend national contexts. To comprehend their shared experiences, students explore the history of the linkages created by Afro-Latin Americans and Afro-North Americans in the 19th and 20th centuries, using fiction, memoir, and recent historical scholarship.

Credits: 4

Department: Literature
JOU 3374: The Literature of Journalism

Students look at the evolution of long-form journalism of postwar America, roughly defined as 1946–1980. Works include Truman Capote’s In Cold Blood, John Hersey’s Hiroshima, and the magazine writing of Lillian Ross, Alex Haley, Joan Didion, and Gay Talese. The class also explores more recent authors, such as Isabel Wilkerson and Rachel Aviv, and the influences of the digital age.

Credits: 4

Department: Literature
JST 3709: Theatrical Representations of the Holocaust

Critics agree that the world of the concentration camps and ghettoes is impossible to duplicate on stage. Despite serious aesthetic and practical constraints, playwrights in Europe, Israel, and America have, for the last five decades, created a diverse group of plays dealing with this unprecedented 20th-century event. Works examined in class include documentary dramas, realistic reenactments, absurdist plays, a comedy, and a standup routine.

Credits: 4

Department: Literature
LAC 3250: Space as Construction: Reclaiming and Rewriting Colonial Landscapes in French-language Literature

The literatures of former French colonies are deeply concerned with questions of space: territory, displacement, indigeneity and migration. This course analyzes recurrent spatial tropes (the island, the plantation, the border, etc.) in the French-language literatures of the Caribbean, the Indian Ocean and Africa to see how received notions of space, including literature as textual space, are reinvented.

Credits: 4

Department: Literature
LIT 1025: Live Lit

Witness literature come alive! Students read work by well-known authors visiting Purchase in the Durst lecture series and read plays staged by the Theatre Program. Students meet independently with authors and attend their public lectures. Directors visit the class and students receive free tickets to all plays. Classwork analyzes material before and after students meet authors and attend plays.

Credits: 4

Department: Literature
LIT 1050: The Common Era Begins

A study of the eastern Mediterranean during New Testament times—the conflict of Jewish and Roman cultures that mark the beginning of the Common Era. While the primary focus is on literary texts, visual arts as well as historical documents and accounts are also included.

Credits: 4

Department: Literature
LIT 1055: “Nature”

What is it we are talking about when we address “Nature”? The closer we look, the more difficult the question becomes. The class looks closely at “Nature,” primarily through various literary texts, as well as through images and videos, considering topics and issues of “natural history,” environmental politics, etc.

Credits: 4

Department: Literature
LIT 1060: On Beauty

What is beauty? How does one recognize it? How do—or how should—people respond to it? What is its relation to justice? This interdisciplinary humanities course examines such fundamental questions with the help of philosophers, theologians, neuroscientists, poets, and artists of all kinds.

Credits: 4

Department: Literature
LIT 1065: Only Connect: Difference and Otherness in Literature

Students trace the development of non-Western identity as it is formulated within the West by examining marginalized characters who are shaped by their powerlessness. Topics include educating the native, victimage, Orientalism, backwardness, and gender. Authors include William Shakespeare, Thomas Babbington Macaulay, Aphra Behn, Mary Shelley, Emily Brontë, William Beckford, Rudyard Kipling, E.M. Forster, Katherine Mayo, and Rukeya Sakhawat Hossein.

Credits: 4

Department: Literature
LIT 1140: The West and Its Others

Explores some of the history, institutions, economy, society, and culture of Britain as a dominant European cultural power and also as an imperial power influencing its colonial possessions. Race and gender are examined, as are the shifting hierarchies between and within cultures. Included are Aphra Behn, E.M. Foster, Rokeya Sakhawat Hossain, Rudyard Kipling, John Stewart Mill, William Shakespeare, and Mary Shelley.

Credits: 4

Department: Literature
LIT 1150: Border Crossings

Social borders are examined through literature that explores immigration, assimilation, and the experience of those who exist “between” cultures. A major focus is on the “hybridizing” of cultures and the way that literature expresses the blending of cultures through language and narrative structure.

Credits: 4

Department: Literature
LIT 1170: Reading Our Past From the Present

A selection of literary and philosophical texts from the Western cultural tradition during the past 2,000 years, with special emphasis on the lenses through which later ages select, read, and construct the past from the present. Texts include works by St. Augustine, Shakespeare, Freud, Marx, Joyce, Brecht, and a selection of contemporary works of film and stage. Where available, texts from the Western tradition being staged on campus are used.

Credits: 4

Department: Literature
LIT 1190: Modernism: The 20th Century

The beginning of the 20th century witnessed an extraordinary ferment and experimental attitude in the arts. This course examines the rise of abstraction and experimentalism in literature, painting, music, and dance in Europe and America from 1899 to the 1950s. The course also considers the artistic breakthroughs of Stravinsky, Schoenberg, Graham, Cézanne, Picasso, Mallarmé, Eliot, Pound, and de Kooning, among others.

Credits: 4

Department: Literature
LIT 1520: Introduction to Literature

An introduction to the principles and practice of close reading and literary criticism. Readings include a variety of literary modes, including fiction, poetry, and drama.

Credits: 4

Department: Literature
LIT 1540: Introduction to the Novel

The rise of the novel and its continued relevance today. In addition to close readings of novels from a variety of time periods and countries, students read about the conditions that gave rise to the novel as a genre and various theoretical interpretations of the form and its functions.

Credits: 4

Department: Literature
LIT 1550: Introduction to Lyric Poetry

An examination of a wide array of poems from classical antiquity to the 21st century. In this course, students consider the multiple ways that poetry works to create meaning and emotion and investigate techniques of close analysis. Particularly recommended for students interested in the study of literature, creative writing, and language.

Credits: 4

Department: Literature
LIT 2055: American History Through Literature

Literature inhabits, reflects, creates, and ironically examines the “history” that is its context. This course observes the central narrative of American history, American institutions and anti-institutions, and the American international situation through the peculiar lens of American poetry, fiction, cinema, and other literary arts.

Credits: 4

Department: Literature
LIT 2080: The Ancient Epic

A reading of texts embodying the oldest myths of Western culture: the Iliad, Odyssey, Aeneid, and Metamorphosis. Works are considered both in their historical context and from the perspective of recent thought.

Credits: 4

Department: Literature
LIT 2100: Freedom Dreams: Introduction to African American Literature

Examines black literary and performance culture from the 18th century to the present. Students explore the self-making and resistance of black authors and activists through literary culture. Discussions focus on the intersections of identity formation (race, gender, sexuality, class) to enhance an understanding of the broader tradition of American letters and black culture. Readings include James Baldwin, Toni Morrison, and Zora Neale Hurston.

Credits: 3

Department: Literature
LIT 2195: Italian American Literature and Popular Culture

Using the lens of the politics of whiteness, this course juxtaposes popular stereotypes with more complex views. Authors include Mario Puzo, Tina DeRosa, John Fante, and Kym Ragusa, among others. The investigation of popular culture encompasses early film classics, the iconic Godfather, and experimental films; music from the crooners to rap and hip-hop; and performance art. Attendance at two or three off-campus events is required.

Credits: 4

Department: Literature
LIT 2305: Introduction to Contemporary Global Literature

Examines how literature is shaped by intersections of the local and the global in examples drawn from five regions: North America, Latin America and the Caribbean, Asia, Africa, and the Middle East.

Credits: 4

Department: Literature
LIT 2361: U.S. Short Story

Short stories by important U.S. writers of fiction, from the beginnings of the literary tradition in the earlier 19th century (Poe, Hawthorne, Melville) to current authors. As the sequence of stories unfolds, the development of American issues unfolds as well.

Credits: 3

Department: Literature
LIT 2375: Classics of European Fiction

Short works of French, Russian, and German fiction, beginning with 18th-century quarrels between classicism and romanticism and ending with multicultural influences on the creation of 20th-century “classics.”

Credits: 4

Department: Literature
LIT 2387: Literature of the South Asian Diaspora

Students read about South Asians dislocated from their homeland, focusing on issues of cultural displacement, alienation, assimilation, and construction as they follow narratives of South Asians who attempt to preserve the traces of their ethnic, cultural, and religious identities. Authors include Jhumpa Lahiri, Bharati Mukherjee, V.S. Naipaul, and Amitav Ghosh, among others.

Credits: 4

Department: Literature
LIT 2450: Colloquium I: Studies in Literature

An introduction to literary study for current and prospective literature majors. Readings are divided among three areas: primary texts, secondary texts that offer contexts for the primary texts, and works that define the study of literature. Each course section addresses its own topic.

Credits: 4

Department: Literature
LIT 2530: The Bible

Readings illustrate the range of issues, styles, and contexts in the Bible, including Genesis and Exodus, Deuteronomic Histories, prophets major and minor, Job and Ecclesiastes, the Gospels, and Apocalypse. This is not a course in religion, but in a literary and cultural tradition deeply concerned with human action in relation to divinity.

Credits: 4

Department: Literature
LIT 2560: Survey of U.S. Literature I

Spans the literature of the European invasion of North America, from the 16th century through the first decades of a national publishing industry of “American” letters following the Revolutionary War. Students consider the connections between writing and colonialism, nation building, and the resistance of these powerful narratives in, for example, the few written words of the indigenous populations and the enslaved.

Credits: 4

Department: Literature
LIT 2570: Survey of U.S. Literature II

An examination of literature written in the U.S. between the 1830s and the beginning of the 20th century. Careful attention is paid to the context of western expansion, slavery and its legacy, industrialization, immigration, and other historical developments. While much of the course is devoted to the “American Renaissance,” students also consider several contemporaneous literary traditions and their interrelationships.

Credits: 4

Department: Literature
LIT 2590: Mythologies

Myths are the narrative form of a culture’s essential knowledge—of itself, its origins, its contexts. This course substantially engages Greek and Roman mythology as well as myths from many time periods and cultures (biblical, South Asian, Native American, contemporary, and more). Theoretical approaches are also considered.

Credits: 4

Department: Literature
LIT 2640: Modern British Literature

An exploration of how British writers have responded to the social, historical, and intellectual ferment of the 20th century. Authors studied may include as T.S. Eliot, W.B. Yeats, Virginia Woolf, Rebecca West, W.H. Auden, Samuel Beckett, V.S. Naipaul, and Muriel Spark.

Credits: 4

Department: Literature
LIT 2765: Child Soldier Narratives

Engage with literary texts and cinematic productions such as Sozaboy, Beasts of No Nation, A Long Way Gone, War Witch, and Kony 2012 which portray children forced to the front lines of war. What meaning is carried through these literary and cinematic texts? How do genre, point of view, language, medium, etc. impact our reading of these narratives?

Credits: 4

Department: Literature
LIT 2775: Survey of British Literature I: Beowulf to Lucifer

A survey of British literature from Beowulf to Paradise Lost, with a particular focus on the history of literary form and the birth of a vernacular tradition in English.

Credits: 4

Department: Literature
LIT 2776: Survey of British Literature II: From Patronage to Print Culture

A survey of British literature from Alexander Pope’s “The Rape of the Lock” to Kamila Shamsie’s Home Fire, with a particular focus on the development of a national literature in the dual contexts of empire and transnational modernism.

Credits: 4

Department: Literature
LIT 2825: Modernism and the Metropolis

The relationship between the developments of urban modernity and aesthetic modernism is charted through the first half of the 20th century in three major metropolitan centers: Paris, London, and New York. The focus is on British and American modernist poetry and novels.

Credits: 4

Department: Literature
LIT 2850: Birds: Literature, Ornithology

A study of the cultural, literary, and natural history of birds. Students read poems and essays, study ornithology texts and field guides, and occasionally go into the field to look at birds. Owning a pair of binoculars would be helpful.

Credits: 4

Department: Literature
LIT 2872: The Golden Land: American Jewish Literature and Film

Beginning as a response to the immigrant experience, writing by American Jews emerged as a central literary presence and the inspiration for important films. This course traces the evolution from early writers such as Abraham Cahan and Anzia Yezierska, through major figures such as Saul Bellow, Bernard Malamud, Philip Roth, and I.B. Singer, to their contemporaries and heirs, including Stanley Elkin, Joseph Heller, Cynthia Ozick, and Grace Paley.

Credits: 4

Department: Literature
LIT 3003: Dostoevsky and Tolstoy

Engages the question “Dostoevsky or Tolstoy?” through readings of some major works, emphasizing The Brothers Karamazov and Anna Karenina as examples of “dialogic” vs. “monologic” narratives.

Credits: 4

Department: Literature
LIT 3004: Lesbian and Gay Poetry

A writing-intensive course in which students study the poetry of queer-identified writers through the lenses of sexuality, culture, identity, history, and poetic technique.

Credits: 4

Department: Literature
LIT 3007: Visions of Dystopia

Examines literary dystopian visions from H.G. Wells’ science fiction classic The Time Machine (1895), Franz Kafka’s The Trial (1920), and Aldous Huxley’s Brave New World (1932) to Margaret Atwood’s The Handmaid’s Tale (1985), Cormac McCarthy’s The Road (2006), Don DeLillo’s Zero K (2016), and Suzanne Collins’ The Hunger Games.

Credits: 4

Department: Literature
LIT 3025: Women and Film

Considers the intersections of sexual difference and cinema. Topics include theories of enunciation and sexual difference, female authorship and the idea of “women’s cinema,” gender and genre, woman as spectacle, the female spectator, and feminist film theory. Representations of sexual difference in films by selected male directors are studied as a means of examining the institution(s) of cinematic expression. The bulk of the course is devoted to studying women directors as they attempt to work within and against that institution.

Credits: 4

Department: Literature
LIT 3038: The American Sentence: Practice and Theory of Prose in America

An investigation of the styles and ideas of “prose” in American literature, fiction and nonfiction. The particular focus is on the sentence—for example, sentences by such writers as Henry James, Melville, Anne Carson, and others. Is there something distinctly “American” about the American sentence? Is there a theory of prose that might emerge?

Credits: 4

Department: Literature
LIT 3043: Toni Morrison

An exploration of Toni Morrison’s generous literary career as a playwright, fiction writer, and essayist. Students read a collection of Morrison’s most popular works (Bluest Eye, Sula, Beloved) alongside her more recent publications (A Mercy, God Help the Child). Discussions place Morrison in conversation with her literary interlocutors (Hurston, Woolf, Faulkner) and some of her most cherished contemporaries (James Baldwin, Toni Cade Bambara).

Credits: 4

Department: Literature
LIT 3047: Literature and Film of the Arab-Israeli Conflict

Explores a variety of literary and cinematic works that depict the conflicting points of view and the varied interests of contemporary Israeli and Arab writers and filmmakers. Students learn the history of the Arab-Israeli conflict and then explore a variety of issues relating to it by reading the work of Amos Oz, David Grossman, Mahmood Darwish, and others. Films include Paradise Now (Hany Abu-Assad, 2005) and Lemon Tree (Eran Riklis, 2008).

Credits: 4

Department: Literature
LIT 3082: 19th-Century British Literature and Empire

Examines the representation of colonized places and people in the British literary imagination during the 19th century. Topics include otherness, difference, exoticism, transculturation, assimilation, and hybridity. Authors include Jane Austen, Emily Brontë, Lord Byron, Samuel Taylor Coleridge, Joseph Conrad, Thomas de Quincey, Rider Haggard, William Jones, Rudyard Kipling, Thomas Moore, Olive Schreiner, and Robert Southey.

Credits: 4

Department: Literature
LIT 3085: Literature of the American West

No American geographical fact is more significant than the West less a place than an idea, an imaginative provocation. Many American writers have been provoked to represent the West, and students read from among their work, including such writers as Raymond Chandler, Sandra Cisneros, Jack London, Nathanael West, Walter Van Tilburg Clark, Willa Cather, and many poets.

Credits: 4

Department: Literature
LIT 3093: Immigration and Ethnicity in U.S. Literature

We are “a nation of immigrants,” wrote John F. Kennedy. Beginning in the 1880s and continuing to the present, this course explores issues surrounding immigration, ethnicity, and nationality through the lens of immigrant writing. Students look at shifts and continuities over time and among diverse ethnic groups and explore how America creates ethnicity and immigrants create America.

Credits: 4

Department: Literature
LIT 3095: Literature of Race and Human Rights

Examines the narrative strategies and genres that Black American writers have used to publicize discrepancies between Western discourses of freedom and liberality and the realities of slavery, segregation, apartheid, and the prison industrial complex. Students read literary and nonliterary works by writers including Olaudah Equiano, Ralph Ellison, and Michelle Alexander.

Credits: 4

Department: Literature
LIT 3121: Comparative 19th-Century Novel

A study of four major novels, their respective national obsessions, and contrasting historical contexts (British: Dickens’ Great Expectations; American: Hawthorne’s Scarlet Letter; French: Balzac’s Eugenie Grandet; Russian: Dostoevsky’s The Possessed). Texts are read in conjunction with historical background material.

Credits: 4

Department: Literature
LIT 3127: Early Modern English Poetry

An exploration of representative poems in English and associated poetical theories from the late medieval and early modern period (c. 1450–1660), including erotic and religious lyrics, epic and narrative poems, and the emergence of women poets. Poets studied include Wyatt, Spenser, Philip, Robert and Mary Sidney, Southwell, Greville, Ralegh, Shakespeare, Donne, Wroth, Herbert, and Crashaw.

Credits: 4

Department: Literature
LIT 3140: Medieval English Literature

Examines the literature of England written in French, English, and Latin from the Norman Conquest of 1066 (when England was taken over by a Francophone elite) to the 15th century. Epic, romance, history, and the literature of spiritual devotion are read in their literary relations and social contexts. All readings are in translation.

Credits: 4

Department: Literature
LIT 3142: Chivalry and Romance

Covers the literary genre of romance in the late Middle Ages and Early Modern periods. Examines the genre’s roots in classical tales of epic travels, adventure, and fantasy. Includes chivalry, heroism, questing, hospitality, and courtliness and attends to the genre’s place in the periods’ cross-cultural and cross-class encounters. Texts include Arthurian legends, Gawain, Spenser’s Faerie Queene, Shakespeare, Orlando Furioso, Gerusalemme liberata, and Don Quixote.

Credits: 4

Department: Literature
LIT 3150: Chaucer

A study of Chaucer’s The Canterbury Tales for students who want an introduction to medieval studies and for those who wish to extend their knowledge of the Middle Ages.

Credits: 4

Department: Literature
LIT 3155: Renaissance in England

The principal nondramatic genres—lyric poetry, prose fiction, political theory, social commentary, religious devotion—of Elizabethan and Jacobean England, read in their social and cultural contexts.

Credits: 4

Department: Literature
LIT 3157: Novel Pairings

Alongside theoretical considerations of the novel as a form of rewriting (Bakhtin, Bloom, Landow, et al.), students consider the effects of Caryl Phillips, Maryse Conde, Zadie Smith, Mario Vargas Llosa, Louisa Hall, Kamel Daoud, and others in rewriting Pride and Prejudice, Wuthering Heights, Madam Bovary, The Scarlet Letter, Mrs. Dalloway, The Stranger, and other master narratives.

Credits: 4

PREREQ: LIT2450

Department: Literature
LIT 3160: Literature of the High Middle Ages

Literature from the songs of the troubadours and the rise of romance to the work of Dante is examined in connection with movements in European intellectual life and social history. Readings are in translation.

Credits: 4

Department: Literature
LIT 3211: Spanish and Latin American Cinema

Drawing from the rich cinematography of Spain and Latin America, this course focuses on the interaction between film and culture in Latin America. Films are discussed and analyzed in the context of sociopolitical events and aesthetic movements, with emphasis on the cultural perspective.

Credits: 4

Department: Literature
LIT 3215: South Asian Literature

Examines the emergence of national identity as represented in South Asian literature in the aftermath of colonialism. The class explores contemporary literary texts along with selected archival documents. Topics include nationalist literature, colonial discourse, and postcolonial fiction. Writers include Rukun Advani, Anita Desai, Mahasweta Devi, Amitav Ghosh, Arundhati Roy, and Salman Rushdie. Taught in English.

Credits: 4

Department: Literature
LIT 3220: The Renaissance in Europe

Considers the literature of the Italian Renaissance in connection with such movements as humanism and Neoplatonism. Readings include works by Petrarch, Boccaccio, Machiavelli, Castiglione, and Ariosto in translation, but work in the original language is encouraged when possible.

Credits: 4

Department: Literature
LIT 3226: Literature of Decolonization in South Asia

Explores the process of decolonization in the context of the emergence of India and Pakistan in South Asia and traces the origin of fundamentalism in this region. Students examine the impact that fundamentalism has on religious, regional, and class identity through the works of both literary and nonliterary writers (e.g., Gandhi, Nehru, Jinnah, Nandy, Adiga, Sidhwa, Desai).

Credits: 4

Department: Literature
LIT 3228: Decolonizing Sex and Gender

Study LGBTQ identities via novels, short fiction, and films, by queer-identified authors who interrogate heteropatriarchy within a postcolonial framework. Texts include Queer Africa (eds. Martin and Xaba), Leche by R. Zamora Linmark, Walking with Shadows by Jude Bidia, Fire (film by Deepa Mehta), Same-Sex Love in India (eds. Vanita and Kidwai), and Our Sister Killjoy by Ama Ata Aidoo.

Credits: 4

Department: Literature
LIT 3250: Milton

One of the greatest English writers and the central poetic influence in the language, Milton is read in the context of the classical literary, political, and religious traditions that he inherited, disputed, and transcended. Special focus is on the relationship of “prophesy” and mythmaking to the radical and dissenting imagination.

Credits: 4

Department: Literature
LIT 3265: Kafka

Focuses on one of modernism’s most innovative fiction writers, Franz Kafka of Prague (1884–1924). Students explore the relationship of Jewish to European-Christian culture in Kafka’s work, the literary sources and historical contexts of his allegories, and the influential concept of the “Kafkaesque.” The goal is to become familiar with the multiple interpretations generated from works like The Trial, The Castle, and Amerika.

Credits: 4

Department: Literature
LIT 3295: Dark Fairy Tales

To modern audiences, “fairy tale” suggests beautiful princesses and handsome princes, ball gowns, and singing mice, but fairy tales have much darker roots. Alongside true love, innocence, and bravery lies infanticide, incest, murder, and cannibalism. In this course, students study a selection of fairy tales and explore their origins, variants, interpretations, and the archetypal characters who inhabit them.

Credits: 4

Department: Literature
LIT 3310: Modern Poetry in the U.S. and Latin America

The coming of age of poetry in the Americas through the work of the great modernists: Wallace Stevens, Vicente Huidobro, Ezra Pound, Cesar Vallejo, T.S. Eliot, Octavio Paz, William Carlos Williams, and Pablo Neruda. Taught in English. Latin American poets may be read in translation or in Spanish.

Credits: 4

Department: Literature
LIT 3315: The 19th-Century Novel in the U.S.

What constitutes the genre of the novel and its various subgenres? Which historical contexts most shaped the novel’s development, and how? What was the novel’s role in culture and society? This course asks these questions about the 19th-century novel in the U.S. In addition to many of the novels from the period, students read various theoretical and historical considerations of the novel.

Credits: 4

Department: Literature
LIT 3320: The 19th-Century British Novel

The novels of Austen, Dickens, the Brontës, Eliot, and Hardy in the political, intellectual, social, and cultural context of Britain and its empire in the 19th century.

Credits: 4

Department: Literature
LIT 3330: Romanticism I

Examines the emergence of the Romantic imagination, the concept of the subject or self, and the plural nature of Romantic discourse in Wollstonecraft, Austen, and Wordsworth, among others. Topics explored include the writers’ diverse concepts of creativity and originality, sense of their place in society, notions of political identity, and relation to British literary traditions.

Credits: 4

Department: Literature
LIT 3340: Romanticism II

Traces the evolution of Romanticism in the aftermath of the radical promise of the first generation of Romantic poets, through the prose writers who self-consciously documented their literary and cultural heritage, to the full flowering of such writers as Byron, Percy Shelley, Mary Shelley, Keats, and Emily Brontë.

Credits: 4

Department: Literature
LIT 3344: Romanticism and Modernism

Examines the continuities of themes and paradigms between the Romantic and Modern periods in British literature. Topics include literary form and its relation to historical and social change; Empire; gender and sexuality; and the romantic fragment and modernist fragmentation.The goal of this advanced course is to enable students to recognize the narrative of British literature by witnessing its transmission.

Credits: 4

Department: Literature
LIT 3352: Love in Literature

From Adam and Eve to the present, numerous authors have written about love. In this course, students examine forms and expressions of both romantic and erotic love in Western literature, from the Bible and ancient Greeks to Bob Dylan. Writers studied include Shakespeare, Emily Brontë, Joyce, F. Scott Fitzgerald, and Nabokov, in addition to love poems, recent American short stories, and more.

Credits: 4

Department: Literature
LIT 3355: Romanticism and Empire

An advanced course examining the construction of India and other “Oriental” spaces in the British imagination during the first phase of imperialism in India (1757–1857). This period coincides with the Romantic movement in England; therefore, British Romanticism and also nonliterary writing in Britain during this period are considered in the context of Empire. Topics include otherness, difference, exoticism, transculturation, assimilation, and hybridity.

Credits: 4

Department: Literature
LIT 3369: Victorian Poetry

Victorian poetry against the backdrop of a rapidly changing world during a period that marked the high point of England’s global power. Writers include Tennyson, Elizabeth Barrett Browning, Robert Browning, Arnold, and Hopkins.

Credits: 4

Department: Literature
LIT 3380: Literature of Harlem Renaissance

Examines racial pride, racial origins, and urban blacks through an exploration of essays, poems, short stories, and novels by writers of the period (1915–1930). Authors include Langston Hughes, Arna Bontemps, Countee Cullen, Nella Larsen, Jean Toomer, and Zora Neale Hurston. Emphasis is on students’ written analysis of in-class and outside readings.

Credits: 4

Department: Literature
LIT 3400: Short Fiction

An examination of the “middle genre,” encompassing the novella and the short novel. Readings provide ample opportunity to sample works embodying the intensity of short fiction and some of the expanded characterization and plot development of the novel. Readings include works by several significant 19th- and 20th-century authors from many countries.

Credits: 4

Department: Literature
LIT 3415: Global Metafictions

Metafictions “radically call attention to their status as fictions.” They are hardly new, despite their association with “postmodernity”—Cervantes’ Don Quixote is an example of early metafiction. This course focuses on contemporary texts in the global context: The Wind-up Bird Chronicle, Murakami; The Hakawati, Alameddine; My Name is Red, Pamuk; Underworld, Delillo. Considerable experience with literature is helpful.

Credits: 4

Department: Literature
LIT 3420: Modern Poetry

A study of modern poetry with a focus on T.S. Eliot, W.H. Auden, Elizabeth Bishop, and others.

Credits: 4

Department: Literature
LIT 3427: 20th-Century World Literature

Students consider world literature of the 20th century as it reflects and questions national and international boundaries, politics, religion, freedom, nationalism, sexuality, gender, and identity. Readings include a broad cross-section of contemporary writings by international authors to facilitate discussion of social norms and values and the diversity of global literary tradition.

Credits: 4

Department: Literature
LIT 3432: The Roaring Twenties

The 1920s was a decade of promise and anxiety in the US. From shell-shocked soldiers to bootlegging millionaires, flappers to factory workers, expatriates to eugenicists, the Great Migration to the Great Depression, much was changing in Americans’ perceptions of their nation, themselves, and the “other.” This course explores these shifts through Hemingway, Fitzgerald, Eliot, Hurston, Yezierska, DuBois, and Lewis, among others.

Credits: 4

Department: Literature
LIT 3455: Teaching Good Prose

Helping others to read and write better improves one’s own reading and writing dramatically. In this course, advanced students improve their own writing and gain tutoring experience by serving as peer tutors in first-year courses. Each student is attached to a College Writing section and serves as a peer mentor/tutor, attending classes and working closely with the instructor (approx. 2 to 4 hours weekly).

Credits: 4

Department: Literature
LIT 3490: James Joyce

An examination of the style, production, and reception of Ulysses, one of the founding texts of modernist fiction. Students analyze the distinctive style of each chapter and examine the relationship of the book to political and cultural issues of the period and to other literary texts by Joyce and continental writers. Readings also include historical, cultural, and critical materials.

Credits: 4

Department: Literature
LIT 3497: Gothic

In this advanced lecture, the first wave of Gothic novels from the mid-18th century to the mid-19th century is examined in relation to visual representations of issues that dominate Gothic discourse. Topics include horror, imprisonment, madness, gender, ghosts and vampires. Authors and artists studied include Austen, the Brontë sisters, Radcliffe, Collins, Blake, Fuseli, and Turner.

Credits: 4

Department: Literature
LIT 3532: Body, Race, Performance

How does embodiment reveal shifting notions of race, gender, sexuality, and ability? Students read performance theory and explore contemporary representations of bodies as sites of display, resistance, and re-construction in literature, performance, and everyday practices in transnational and intersectional contexts. Authors include Ntozake Shange, NourbeSe Philip, Jackie Sibblies Drury, Branden Jacob-Jenkins, and David Henry Hwang.

Credits: 4

Department: Literature
LIT 3540: Emerson

Detailed readings of the major essays, poetry, and journals of Ralph Waldo Emerson, the paradoxical central figure of American culture. The course addresses his powerful influence in literature, political ideology, rhetoric, religion, and popular arts.

Credits: 4

Department: Literature
LIT 3571: Holocaust Memoir and Diary

Holocaust scholar Lawrence Langer asks, “To whom shall we entrust the custody of the public memory of the Holocaust?” This course examines eyewitness testimony produced either during or after the Holocaust. Students read works such authors as Elie Wiesel, Primo Levi, Kazik (Simha Rotem), Emanuel Ringelblum, Anne Frank, and Hanna Senesh, a true Jewish Joan of Arc.

Credits: 4

Department: Literature
LIT 3572: Imagining America’s Yiddish World: Writings and Performance

Focuses on a variety of writings (memoirs, letters, fiction, poetry), theatre, and films depicting the Yiddish world of the Lower East Side, home to more than two million Eastern European Jewish immigrants between 1880 and 1920. Readings include selections from the work of a variety of authors, from Yiddish newspapers, films, and other cultural materials.

Credits: 4

Department: Literature
LIT 3575: Virginia Woolf

An examination of the novels, short stories, and essays of Virginia Woolf.

Credits: 4

Department: Literature
LIT 3581: Realism and Naturalism in U.S. Literature

What is a realist novel? What does it do, how, and to what end? Students consider these issues by interrogating texts in their cultural contexts, exploring the authors’ critical writings, drawing links among novels, and analyzing their reception over time. Readings include works by William Dean Howells, Mark Twain, Henry James, Kate Chopin, Stephen Crane, Charles Chesnutt, and Ann Petry.

Credits: 4

Department: Literature
LIT 3583: Poe and Hawthorne: 19TH Century American Literature of the Uncanny

Students’ primary focus is on the bizarre and distorted fictions of Poe. Readings also include Poe’s poetry, analogous stories by Hawthorne, works by Melville, poetry by Dickinson, and others, extending to James’ ‘Turn of the Screw’ and other late-19th-century writings.

Credits: 4

Department: Literature
LIT 3585: Childhood in U.S. Literature

Explores constructions and representations of childhood and adolescence in post–Civil War U.S. culture and fiction, focusing particularly on ideological linkages between nation and family and how these connections shape the experiences and writings of authors and educators across cultures. Readings may include works by Alger, Louisa May Alcott, Twain, Dewey, Adams, Riis, Yezierska, Fauset, Cisneros, and Rita Mae Brown.

Credits: 4

Department: Literature
LIT 3605: Jazz and the Literary Imagination

From hip-hop to Kerouac, jazz has influenced American culture through its improvisatory nature and capacious style. This course traces the jazz aesthetic (its early developments, definitions, and evolutions) across a range of novels, poems, and musical performances by writers and artists, including Toni Morrison, Amiri Baraka, Billie Holiday, Gayl Jones, Louis Armstrong, Ralph Ellison, Thelonious Monk, and James Baldwin.

Credits: 4

Department: Literature
LIT 3620: U.S. Poetry

The development of U.S. poetry. The course examines its major figures (Dickinson and Whitman from the 19th century; Stevens, Frost, and Williams from the 20th century) and surveys the “minor” poets. Provides an overview of contemporary poetry, as well as much practice in the close reading of poetic texts.

Credits: 4

Department: Literature
LIT 3627: American Berserk: Religion, Drugs, and Terrorism in Recent Fiction

Bringing post-1960s American extremities into focus and organized around units on the Beat Generation, race in the deep south, the Kennedy assassination, 9/11, and social class, this course includes texts such as Allen Ginsberg’s “Howl,” Flannery O’Connor’s stories, Philip Roth’s “American Pastoral”, Don DeLillo’s “Libra”, Mohsin Hamid’s “Reluctant Fundamentalist”, C.T. Boyle’s “The Harder They Come”, Tara Westover’s “Educated.”

Credits: 4

Department: Literature
LIT 3630: Melville

The major novels of Melville, as well as some of his poetry and several important shorter works of his fiction.

Credits: 4

Department: Literature
LIT 3633: The Beat Generation

Explores the lives, works, and times of the Beat Generation authors, examining the literary and cultural landscape from which the Beats emerged and their profound effect on the nascent counterculture and on the music and literature of a generation of artists that followed.

Credits: 4

Department: Literature
LIT 3635: Reviewing the Contemporary Novel

An introduction to the contemporary novel and the art and practice of book reviewing. Students read exemplary novels (e.g., Cloud Atlas and Netherland); they read exemplary book critics (e.g., Zadie Smith and James Wood); and they write their own exemplary reviews of contemporary fiction. Writing assignments range from blog posts to newspaper-style reviews and magazine-style essays.

Credits: 4

Department: Literature
LIT 3636: Modern American Poetry

Modern and contemporary American poetry is studied with an emphasis on craft and the creative process. Poets include T.S. Eliot, Wallace Stevens, Robert Frost, and Sylvia Plath, among others. Attention is given to the imagery, structure, and sound patterns (or “music”) of the poems. Poetry writers are encouraged to enroll, and anyone interested in poetry is welcome.

Credits: 4

Department: Literature
LIT 3638: Outside the Canon

Looking at the Western literary canon from outside, we will consider texts at the margins (national, transnational and postcolonial) of the canon: contemporaneous texts which do not have the same literary success as well as those published later and meant as a critical response to the canon. Class is in English and texts will be taught in (English) translation.

Credits: 4

Department: Literature
LIT 3665: American Women Writers

Examines several texts written by American women, including works by Radstreet, Wheatley, Rowson, Stowe, Dickinson, Jewett, Cather, Wharton, Hurston, Bishop, and Naylor. The question of whether there is a traceable female tradition during the past 350 years is addressed. Readings include feminist literary criticism and theory.

Credits: 4

Department: Literature
LIT 3673: Austen

An examination of the novels of Jane Austen. Topics include gender and authorship; irony, sympathy, and point of view; the marriage plot; and filmic adaptation.

Credits: 4

Department: Literature
LIT 3676: Short Narrative

An examination of short fiction as it emerged from the oral tradition of storytelling. Biblical tales and parables, Greek romance, saints’ lives, and the great story collections of medieval and early modern Europe are considered from a comparative perspective.

Credits: 4

Department: Literature
LIT 3677: Modern American Short Stories

Concise and focused, the short story has been a lens through which Americans have explored their identities. Stories written in the last 25 years examine the changing sense of what being an American means.

Credits: 4

Department: Literature
LIT 3680: Surrealism and Its Legacy

Surrealist literature, films, and art in France, Spain, and Latin America. Artists include Aragon, Breton, Buñuel, Césaire, Char, Dali, Eluard, and Lorca. Works are read in translation and lectures given in English; students with French and/or Spanish are encouraged to read in the original language.

Credits: 4

Department: Literature
LIT 3685: Modern Novel of Latin America

Major works of the most celebrated Latin American novelists, such as Cortàzar, García Márquez, Carpentier, and Guiraldes, emphasizing the cultural and social contexts from which these novels spring. Although this is a literature course taught in English, students with competent Spanish language skills are encouraged to read the works in the original and write their papers in Spanish.

Credits: 4

Department: Literature
LIT 3695: Contemporary U.S. Literature

Novels, poems, and plays produced in the U.S. from World War II to the present. Focus is on the development of a postmodern aspect, and attention is concentrated on the flourishing literature of minority groups. Writers include Jack Kerouac, Thomas Pynchon, Louise Erdrich, Toni Morrison, Don DeLillo, Adrienne Rich, and Tony Kushner.

Credits: 4

Department: Literature
LIT 3705: Cervantes: Don Quixote

Centers on a close reading of Don Quixote, with attention to other works of Cervantes and to his importance to European narrative as a whole.

Credits: 4

Department: Literature
LIT 3755: Poetry and the Avant-Garde

The notion of the “new” in poetry and art is examined. Students read a range of poetry written in the late 19th century through the 1940s in France, Germany, Spain, Latin America, and the U.S., and explore ways in which expressive novelty is linked to particular cultural and social situations. Along with the poems and some visual art, some contemporary texts that advance theories of the “avant-garde” are considered.

Credits: 4

Department: Literature
LIT 3765: Flannery O’Connor and Her Heirs

An in-depth examination of the life and work of Flannery O’Connor, with a consideration of how later writers like Denis Johnson, Toni Morrison, and Kelly Link respond to her legacy.

Credits: 4

Department: Literature
LIT 3823: Anxiety and Monstrosity in Early British Literature

Explore representations of monstrosity in a variety of early British literature in order to unearth the social anxieties (about gender, class, race, and religion) that animate them. Readings include Beowulf, the Lais of Marie de France, Chaucer’s Prioress’ Tale and Clerk’s Tale, Mandeville’s Travels, Marlowe’s The Jew of Malta, Shakespeare’s Macbeth, and Milton’s Paradise Lost.

Credits: 4

Department: Literature
LIT 3825: British Poetry I: Beginnings to the 1650s

An examination of the development of the British poetic canon in its literary and historical context. The development of lyric poetry is discussed in the context of changing reading practices and uses of literacy, and the multiple relations between literary artistry and the social world.

Credits: 3

Department: Literature
LIT 3839: The Modern Novel

Considers seven novels that represent “modernity” as social, ethical, and/or individual crisis. The course explores overlapping modernist prose styles from romanticism to surrealism and concludes with a “postmodern” novel.

Credits: 4

Department: Literature
LIT 3845: Zora Neale Hurston

Examines Hurston’s novels, short stories, plays, and essays alongside archival recordings and visual media. Discussions cover Hurston’s influential role in shaping conversations around race, class, and gender in the 20th century and her impact on other writers, including Langston Hughes, Alice Walker, and Toni Morrison.

Credits: 4

Department: Literature
LIT 3940: Literature of War

Examines the central role of war in Western literature, with a concentration on English and American texts.

Credits: 4

Department: Literature
LIT 4180: Dante and Medieval Culture

A close reading of the Divine Comedy in the dual context of late medieval Italy and contemporary theoretical inquiry.

Credits: 4

Department: Literature
LIT 4190: Williams and Faulkner

William Carlos Williams and William Faulkner were both deeply engaged with the historical myths of their time and place, and both were central influences in the evolution of American modernism. Readings concentrate on major novels by Faulkner and poetry by Williams.

Credits: 4

Department: Literature
LIT 4240: Science Fiction

A survey of science fiction in literature and film, with particular focus on the genre’s ability to investigate large-scale social, political, philosophical, and narratological questions. Works by Philip K. Dick, Ursula K. Le Guin, Octavia Butler, and China Miéville, among others.

Credits: 4

Department: Literature
LIT 4450: Colloquium II: Advanced Studies in Literature

A culminating course that draws together the work of the major and prepares students for and complements the senior project. Each course section addresses its own topic; in every section, readings include primary texts, secondary texts that illuminate the primary texts, and works that define the discipline of literature or its interdisciplinary extensions, including theory and cultural studies.

Credits: 4

Department: Literature
LIT 4451: Advanced Shakespeare Workshop

Advanced study of one Shakespeare play that will be mounted in the spring by the acting program. Focuses on the performative, historical, and critical context of the play and provides an in-depth understanding of Shakespeare’s theatrical art. A folio acting version of the play, a modern critical edition, and required background material are used in a close study of the text. Requirements include group and individual research projects.

Credits: 4

Department: Literature
LIT 4675: George Eliot and Henry James

An examination of two of the greatest novelists in the English language, George Eliot and Henry James. Topics include point-of-view and its relation to ethics; the nature of sympathy; melodrama and realism; and the representation of consciousness in literary form.

Credits: 4

Department: Literature
LIT 4685: Whitman and Dickinson

These two poets, Walt Whitman and Emily Dickinson, dominate not only the American 19th century, but the entire history of poetry at length and in depth. Students also consider some of their marginal work (Whitman’s prose and Dickinson’s letters, for example).

Credits: 4

Department: Literature
LIT 4690: Contemporary U.S. Poetry

Here are poets who epitomize trends, possibilities, or radical departures—poets like Anne Sexton, Robert Lowell, John Ashbery, Elizabeth Bishop, John Berryman, and James Merrill, among others—interesting not only in their context within the tradition, but for their manifold intrinsic excellences as well.

Credits: 4

Department: Literature
LIT 4885: Senior Project Seminar

In this seminar, students are guided through the steps required to complete a senior project. Students refine their topic, create a list of secondary sources, write an annotated bibliography, and workshop their first chapter. Required for literature majors in conjunction with the first semester of their senior project.

Credits: 2

PREREQ: LIT2450

Department: Literature
PHI 2835: Happiness: Philosophy, Film, Literature

An interdisciplinary examination of the subject of happiness, using a variety of ancient and modern literary and philosophical works as well as films. Students analyze the texts and films for their specific content but also for a deepened sense of the possible relationships between visual and discursive representations of narratives.

Credits: 4

Department: Literature
PHI 3025: Temporality

A historical examination of philosophical thought on the structure and meaning of time. Readings emphasize the centrality of time to continental thought, but other approaches are also discussed. Key questions include: What is the relation between subjective and objective temporality, and how are we to conceive of each? Is there anything more to time than our experience of it?

Credits: 4

Department: Literature
PHI 3205: Shakespeare and Philosophy

Explores what the French philosopher Emmanuel Levinas might have meant when he wrote that “all of philosophy may be found in the plays of Shakespeare.” The focus is on a close study of selected works, together with commentary by such thinkers as Hegel, Nietzsche, Freud, Derrida, Cavell, and Critchley. Plays include Hamlet, Richard II, Coriolanus, As You Like It, Measure for Measure, The Tempest, and King Lear.

Credits: 4

PREREQ: THP2205 Or PHI1515 Or PHI2110

Department: Literature
PHI 3650: Philosophy and Literature

A study of how philosophical themes have been developed in recent fiction and an examination of the relationship between philosophy and literary criticism.

Credits: 4

Department: Literature
POL 3307: Politics and Memoir

A study of memoirs by male and female authors, politicians, activists, and ordinary citizens describing childhood, communities, social changes, and revolutions. Works are drawn from South Africa, South America, Asia, Cuba, and the U.S. The rubric is the non-West’s interaction with the West, a north-south divide.

Credits: 4

Department: Literature
SPA 3687: The Idea of Latin America

Who had the idea to name part of the world “Latin America”? What makes it “Latin”? Who has an interest in this definition? Who is included and who isn’t? This course asks these questions and others through readings of texts by Bolívar, Martí, Mariátegui, and others.

Credits: 4

Department: Literature
SPA 3700: The Latin American Short Story

Selected examples drawn from the significant number of Latin American writers who have made some of their most interesting contributions in this short form. Selected works from 19th- and 20th-century writers are read closely. Taught in Spanish.

Credits: 4

Department: Literature
THP 2205: Shakespeare Then and Now

Selected plays spanning Shakespeare’s entire career. In addition to close reading and textual interpretation, students address questions and problems of performing, directing, lighting, costuming, and set designing Shakespeare’s plays. The course examines past and current trends in Shakespearean criticism, as well as the social and theatrical contexts in which the plays were first produced.

Credits: 3

Department: Literature
THP 2600: American Drama: From O’Neill to Albee

American drama considered primarily as a critique of American society, values, and life. Covers the period from 1916 to 1964, including plays by Susan Glaspell, Eugene O’Neill, Clifford Odets, Lillian Hellman, Gertrude Stein, Thornton Wilder, Tennessee Williams, Arthur Miller, Lorraine Hansberry, Adrienne Kennedy, and Edward Albee.

Credits: 4

Department: Literature
THP 2885: Theatre Histories I

Western and world theatre from ancient Greece to 1642, when the theatres of Shakespeare’s time were finally closed. What would now be called actors, playwrights, producers, directors, designers, and theatre architects are all considered.

Credits: 3

Department: Literature
THP 3140: Medieval and Renaissance English Drama

A study of the mystery plays, morality plays, interludes, masques, and entertainments of the 14th, 15th, and 16th centuries. Analysis of texts is combined with consideration of theatrical production in light of the ideological, religious, and historical contexts of the plays.

Credits: 4

Department: Literature
THP 3410: Adapting Virginia Woolf

Virginia Woolf captures sensory detail and internal thought like few other writers. This dramatization of perception makes her work ripe for adaptation. Students will read selections of Woolf’s essays, short stories, and novels, and study theatrical adaptations of her work. Students will explore translating Woolf’s iconic vision into theatrical shape by creating immersive stage adaptations of her work

Credits: 4

Department: Literature
THP 3495: Black American Drama

Examines the history of 20th-century black American theatre. Major representative plays are read as literature; playwrights include Richard Wright, James Baldwin, Amiri Baraka, Alice Childress, Adrienne Kennedy, August Wilson, Robert O’Hara, Suzan-Lori Parks, Lynn Nottage, Kia Corthron, and Lorraine Hansberry.

Credits: 4

Department: Literature
THP 3620: Shakespeare and Film

Shakespeare goes to celluloid, Hollywood, Japan, TV, and elsewhere. On the one hand, this is a Shakespeare seminar, with emphasis on discussions of the plays themselves. On the other, it becomes a film course, focusing on analyses of screen adaptations.

Credits: 4

PREREQ: THP2205 Or LIT2205

Department: Literature
THP 3690: American Theatre in Our Time

American theatre and society during the last 50 years. Plays by Jones (Baraka), Mamet, Shepard, Hwang, Kushner, Fornes, Marsha Norman, Sarah Ruhl, and August Wilson. Some knowledge of the American drama of O’Neill, Williams, and Miller is required.

Credits: 4

Department: Literature
THP 3725: Adapting Literature for Performance

A writing workshop on how to develop performance scripts from poetry, prose fiction, and nonfiction. Requires a background in literature, interest in theatrical form, and commitment to the scripting process.

Credits: 4

Department: Literature
THP 3750: European Drama in Our Time

Malaise, futility, despair, and, sometimes, hope in the plays of Pirandello, Brecht, Giraudoux, Beckett, Ionesco, Genet, Osborne, Pinter, Churchill, and others, from World War I to somewhere short of tomorrow.

Credits: 4

Department: Literature
WRI 2770: The Art of the Essay

Though often seen as simply a test of students’ knowledge and ideas, essays go far beyond what is generally required in courses. Students in this course read and experiment with a wide variety of critical, journalistic, academic, personal, and experimental essay forms. In the process, they further develop their skills as critical thinkers and writers.

Credits: 4

PREREQ: WRI1110 Or WRI2110

Department: Literature
WRI 3785: The Personal Essay

In the personal essay, writers adopt distinct points of view, moving beyond the emotional to analytical and reasoned positions. Topics can include personal reflections, thoughts on daily life, art analysis, and political arguments. Students read and analyze contemporary essays and “workshop” each other’s writing. Requirements include attending instructor-supervised events (films, performances, guest speakers) outside of class for some writing assignments.

Credits: 4

Department: Literature

Philosophy

https://www.purchase.edu/academics/college-catalog/?program=Philosophy

Description:

The philosophy program offers students an intensive engagement with the history of philosophy, ancient and modern, Western and non-Western.

Special attention is given to key 20th- and 21st-century developments in Anglo-American and Continental thought. Courses addressing the arts, gender and sexuality, and social and cultural change and conflict are also among the program’s core offerings. Students may pursue topics of special interest through tutorials and directed independent studies. Coursework in philosophy frequently includes small seminars and intensive writing, and special seminars for juniors and seniors help students develop their senior projects.

The philosophy major is ideal for students who:

  • seek rigorous preparation for careers that demand articulate, intellectual flexibility and discipline (e.g., law, medicine, government, business, education, and journalism).
  • wish to pursue a professional career in philosophy and plan to do postgraduate work in the field.
  • want, regardless of career objective, a liberal arts experience that affords a deep unifying perspective on the complexities of human knowledge and experience.
  • want an intellectually comprehensive complement to intensive work in another major.

Because of the art- and media-related nature of many programs at Purchase College, the philosophy program also offers courses for arts students and others who wish to investigate the foundation of the fine arts and related cultural media.

Requirements:

In addition to completing general degree requirements, all philosophy majors must complete a minimum of nine courses in philosophy, plus an 8-credit senior project:

  • PHI 1515/History of Philosophy I: 4 credits
  • PHI 2110/History of Philosophy II: 4 credits
  • PHI —/One elective in the history of philosophy: 4 credits
  • PHI —/One seminar on a major figure (typically Plato, Kant,
       Hegel, or Heidegger/Arendt) or issue: 4 credits
  • At least two additional philosophy courses*
  • PHI 3899/Junior Seminar: 4 credits
  • PHI 4860/Senior Colloquium: 1 credit
  • PHI 4890/Senior Seminar: 2 credits
  • SPJ 4990/Senior Project I: 4 credits
  • SPJ 4991/Senior Project II: 4 credits
  • *Strongly recommended courses include:
  • PHI 2120/Methods of Reasoning: 4 credits
  • PHI —/One additional elective on a major figure or issue: 4 credits
  • PHI —/One year of college-level foreign language courses: 6–8 credits

Additional notes for philosophy majors:

  1. No more than two courses at the 1000 level may be counted towards the major.
  2. The sequence and selection of courses is to be made in consultation with a philosophy faculty member chosen by the student to serve as a major advisor.
  3. The topic of the senior project is to be developed in conjunction with the junior seminar and in consultation with the advisor, who will normally be the project supervisor.
  4. At the time of graduation, a student must have a minimum 2.0 (C) GPA for courses, excluding the senior project, within the philosophy program.

Minor requirements:

The minor in philosophy is designed for students with a general interest in philosophy.

Students interested in pursuing a minor offered by the philosophy program should submit a completed Application for a Program of Minor Study to the coordinator of the Philosophy Board of Study. Upon admission to the minor, the student will be assigned a minor advisor from the philosophy faculty.

Academic Requirements for the Minor in Philosophy

Five courses, to include:

  1. PHI 1515/History of Philosophy I or
    PHI 2110/History of Philosophy II
  2. One other course in the history of philosophy (e.g., PHI 1515, 2110, or 3212)
  3. Three elective courses in philosophy (including two at the 3000 or 4000 level), to be chosen in consultation with the minor advisor

Related minor: Philosophy and the Arts


Faculty

  • Lecturer in Philosophy

    BA, University of Redlands
    MA, Stony Brook University 
    PhD, Stony Brook University

  • Assistant Professor of Philosophy
    • BA, University of Montana
    • MA, Duquesne University
    • PhD, Stony Brook University, SUNY
  • Lecturer in Philosophy

    BA, MA, Yale University
    MAR, Yale Divinity School 
    PhD, The University of Chicago Divinity School

  • Associate Professor of Philosophy
    2018-20 Doris and Carl Kempner Distinguished Professor
    • BA, Swarthmore College
    • PhD, University of Pennsylvania
  • Lecturer in Philosophy

    BA, Cornell University
    MA, Columbia University
    PhD, Columbia University (expected 2020)

  • Associate Professor of Philosophy
    • BA, University of California, Santa Cruz
    • PhD, University of Pennsylvania
  • Professor of Philosophy
    • BA, Williams College
    • MA, JD, Yale University

Courses

CIN 3540: Queer Cinema

Emerging queer cinema is explored in its historical contexts and its relation to contemporary theories of gender, sexuality, and their intersection with race, class, and nationality. The course focuses on the “queering of the gaze,” interrogating conventional notions of representation, desire, identification, filmmaking, and spectatorship. Featured directors: Warhol, Fassbinder, Haynes, Von Trotta, Akerman, Rozema, La Bruce, Araki, Denis, Jarman.

Credits: 4

Department: Philosophy
NME 2550: Media, Memory, and Desire

An exploration of the ways in which various media technologies promote investment and disinvestment in history, community, and tradition. This course pursues the argument that technology does not derive from, but creates the fundamental structures of human experience, affecting people socially, politically, psychologically, and neurologically. Primary authors include Plato, Kant, Marx, Freud, Heidegger, Derrida, Stiegler, and Malabou.

Credits: 4

PREREQ: NME1050 Or MSA1050

Department: Philosophy
PHI 1155: Possession

Designed for first-year students, this course takes up questions about the nature and significance of property, or owning stuff (including oneself and one’s “properties”). Authors include Aristotle, Justinian, Locke, Marx, Hegel, Fourier, Toni Morrison, Jane Smiley, Cheryl Harris, the U.S. Supreme Court, and St. Francis of Assisi. Students read, write, and discuss primary texts using interpretative methods distinctive of the humanities.

Credits: 4

Department: Philosophy
PHI 1160: Religion, Science, and Modernity

Examines the complex and evolving relationship between modern science and religion from the 16th century to the present. Topics include the influence of the Reformation on emerging secular culture; the modern philosophical debate over the existence of God; “disenchantment” as a defining feature of modern experience; and Darwinian evolutionary theory, humanism, and conflicts between secularism and fundamentalism in the 21st century.

Credits: 4

Department: Philosophy
PHI 1515: History of Philosophy I: Philosophy and the Polis

The emergence of Western philosophy in ancient Greece during the age of Aeschylus, Sophocles, Plato, and Aristotle.

Credits: 4

Department: Philosophy
PHI 1530: Introduction to Philosophy: Ideas of Good and Evil

A survey of our most important ethical notions and of the philosophers who were most important in shaping them.

Credits: 4

Department: Philosophy
PHI 1540: Introduction to Philosophy: Ideas of Human Nature

An introduction to philosophy through an examination of influential views of what it is to be human. Topics include the relations among people, machines, and animals; the role of culture in shaping people; and the question of whether there is a distinctively human good.

Credits: 4

Department: Philosophy
PHI 1720: Tragedy and Philosophy

An introduction to Western culture through the study of tragic drama, Plato’s dramatic dialogues, and philosophical reflections on tragedy. The focus is on the possibilities and limitations of human action. Topics include the relations of individual to city, mortal to divine, and male to female; and the roles of knowledge and desire in human conduct. Homer, Aeschylus, Sophocles, Euripides, Plato, Shakespeare, Nietzsche, and Toni Morrison are included.

Credits: 4

Department: Philosophy
PHI 2005: Africana Philosophy

An examination of older and more recent traditions of African philosophical thought and their relation to larger global conversations about political justice, social transformation, and identity. This course proceeds from the premise that philosophy, grounded in specific lived experiences, helps society recognize the significance of cultural pluralism and empirical justice in the building of a world community. Further connections between African, Latino, and Afro-Caribbean traditions of critical thought are also explored.

Credits: 4

Department: Philosophy
PHI 2060: Existentialism

An examination of major 19th- and 20th-century European philosophical and literary texts by Kierkegaard, Nietzsche, Sartre, de Beauvoir, and Fanon. Topics include “the death of God,” alienation, freedom and commitment, ethics and politics when “everything is permitted,” and the interaction of self and other(s) in the definition of individual and social identities.

Credits: 4

Department: Philosophy
PHI 2110: History of Philosophy II: Descartes to Kant

Close readings of four or five major philosophers from the modern period (e.g., Hobbes, Descartes, Locke, Spinoza, Leibniz, Berkeley, Hume, Kant). Issues and supplementary readings may vary each semester.

Credits: 4

Department: Philosophy
PHI 2120: Methods of Reasoning

Systematic analyses of ordinary arguments, followed by a study of formal languages that are used to represent arguments symbolically.

Credits: 4

Department: Philosophy
PHI 2380: Islamic Philosophy

An overview of the development of philosophy in the Islamic world, with a focus on the medieval period (9th–13th centuries). Key figures and concepts of the Islamic philosophical movement are discussed, together with its influence on Jewish and Christian thinkers, Islamic theology and mysticism, and its impact on modern Islamic projects of reform.

Credits: 4

Department: Philosophy
PHI 2400: Introduction to Asian Thought

A critical introduction to major Asian philosophical systems, including Hinduism, Taoism, Buddhism, and Confucianism. Particular attention is given to core themes in traditional texts and later commentaries pertaining to metaphysical questions about the nature of reality, epistemological questions about the sources of knowledge, ethical questions about virtuous conduct and the good life, and aesthetic questions about art and beauty.

Credits: 4

Department: Philosophy
PHI 2430: Classical Buddhist Philosophy

Topics include philosophic conceptions of experience, nature, self, and truth in classical Buddhist schools of India, Tibet, China, and Japan.

Credits: 4

Department: Philosophy
PHI 2500: Gender and Power

What is gender? What is power? What tools do we have for understanding and addressing gender injustice? This course employs philosophical, feminist, and queer theory to address these and related questions.

Credits: 4

Department: Philosophy
PHI 2560: Thinking Race

A critical examination of the category and idea of race. The course addresses historical, philosophical, ideological, institutional, ethical, and psychological components of race, focusing on the ways race mobilizes systems of domination, including racism and white supremacy. Relationships between race and ethnicity, race and gender, race and class, and other intersections are explored.

Credits: 4

Department: Philosophy
PHI 2780: Philosophy of Art: From Plato to Postmodernism

An introduction to major traditional and contemporary issues in the philosophy of art. Topics include the problem of defining “art”; the nature of representation; the problem of whether taste has an objective basis; and the relation of art to moral, cognitive, and social values.

Credits: 4

Department: Philosophy
PHI 2800: Philosophy of Religion

An examination of the forms of and challenges to religious experience. Key questions include: Can any religious beliefs be proved or disproved? Is there a basic conflict between reason and faith? Must one be traditionally religious to lead a spiritual life? Does the existence of evil refute the idea of a Supreme Being? Is fundamentalism a distortion of the essence of religion? Readings are drawn from modern, medieval, Western, and non-Western sources.

Credits: 4

Department: Philosophy
PHI 2820: Philosophy of the Environment

relationships between humans, their values, and the nonhuman species that comprise the natural environment. Specific inquiries include: What does it mean, metaphysically, to say that humans are “part of nature”? Do humans have duties towards nonhuman species? Do any nonhuman species have rights? When do ecological philosophies become politically controversial? Readings include a variety of contemporary and traditional philosophers.

Credits: 4

Department: Philosophy
PHI 2835: Happiness: Philosophy, Film, Literature

An interdisciplinary examination of the subject of happiness, using a variety of ancient and modern literary and philosophical works as well as films. Students analyze the texts and films for their specific content but also for a deepened sense of the possible relationships between visual and discursive representations of narratives.

Credits: 4

Department: Philosophy
PHI 3005: Philosophy of History

An examination of ontological and epistemological questions of the philosophy of history. Does the historical process have a structure, directionality, purposiveness, or telos? What kinds of divisions (e.g., cultures, epochs) can be formed? How do people understand the past with the tools of the present? Can any historical account be objective? Thinkers include Kant, Hegel, Marx, Nietzsche, Dilthey, Heidegger, Collingwood, Danto, and Foucault.

Credits: 4

Department: Philosophy
PHI 3015: Philosophy of Science

Philosophical debates about scientific method and the status of scientific findings. Topics include induction, natural vs. social science, realism/antirealism, “normal” science and paradigm shifts, the problem of scientism, and feminist and other critiques of science. Attention may also be paid to one or more specific sciences (e.g., biology, economics, physics, psychology).

Credits: 4

Department: Philosophy
PHI 3050: Pragmatism and the Quest for Certainty

An introduction to leading figures and themes of 20th-century philosophical pragmatism. Topics include pragmatic critiques of traditional (e.g., Cartesian and Kantian) epistemology; the practical sources of philosophy, science, and art; and the requirements of metaphysical naturalism.

Credits: 4

Department: Philosophy
PHI 3085: Objectivity

Is there such a thing as objectivity, journalistic or otherwise? How do accounts of reality in the natural sciences, social sciences, and the humanities differ, and is any account more objective than the others? How do narratives tell the truth, and how do they lie? What might people mean by the term “truth,” anyway? Course readings are interdisciplinary; the course style is philosophical.

Credits: 4

Department: Philosophy
PHI 3090: Capitalism

An examination of theories of capitalism from the Industrial Revolution to the age of neoliberalism. Students engage major thinkers and develop critical perspectives on the socioeconomic forces that shape people’s lives. John Locke, Adam Smith, Karl Marx, Max Weber, Friedrich Hayek, Milton Friedman, Robert Nozick, C.B. McPherson, E.P. Thompson, David Harvey, and Wendy Brown are among the thinkers.

Credits: 4

Department: Philosophy
PHI 3150: Tibetan Buddhist Philosophy

An examination of the rich philosophies of Tibetan Buddhism, drawing on Nagarjuna and the Indian background, developing the tantric tradition through its philosophic assumptions and arguments. (offered Summer, in India)

Credits: 4

Department: Philosophy
PHI 3205: Shakespeare and Philosophy

Explores what the French philosopher Emmanuel Levinas might have meant when he wrote that “all of philosophy may be found in the plays of Shakespeare.” The focus is on a close study of selected works, together with commentary by such thinkers as Hegel, Nietzsche, Freud, Derrida, Cavell, and Critchley. Plays include Hamlet, Richard II, Coriolanus, As You Like It, Measure for Measure, The Tempest, and King Lear.

Credits: 4

PREREQ: THP2205 Or PHI1515 Or PHI2110

Department: Philosophy
PHI 3211: Enlightenment and Revolution

A critical study of the Enlightenment approach to ethics and politics in the natural rights and social contract theories. Topics include tensions between the individual and the state, liberty and equality, and reason and passion in the theory and practice of the great democratic revolutions of the 17th and 18th centuries. Readings include Hobbes, Locke, Rousseau, Kant, Burke, and the Federalists.

Credits: 4

Department: Philosophy
PHI 3212: From Hegel to Nietzsche

A study of thinkers who challenged accepted notions of reason and selfhood and, in doing so, helped shape the intellectual life of our present century. Hegel, Marx, Kierkegaard, and Nietzsche are some of the thinkers studied.

Credits: 4

Department: Philosophy
PHI 3265: Philosophy, Psychoanalysis, and Culture

An examination of philosophical issues raised by Freudian psychoanalysis and their implications for understanding human culture. Key questions: Is psychoanalysis a true science? Are human beings fundamentally irrational? Why do people need religion? Is there an irresolvable conflict between human instincts and cultural progress? Further exploration of the ideas of major post-Freudian figures, including Jung, Klein, Lacan, Marcuse, and Reich.

Credits: 4

Department: Philosophy
PHI 3275: Light and Truth: Film, Photography, and Reality

Do photographic images have privileged access to truth? This course explores the complicated relationship between truth and visual (particularly filmic) images. It begins with Plato on the “fakery” that is painting, turns to 17th-century “faithfulness” and “sincerity” in still-life painting and scientific drawing, and looks in depth at 20th-century writings about the nature of photography and realism in representation.

Credits: 4

Department: Philosophy
PHI 3290: Chinese Philosophy: From Confucius through the Neo-Confucian Synthesis of the Sung Dynasty

An inquiry into the conceptions of order and power from Confucius to the Sung Dynasty (12th century). Balance, hierarchy, relation, social organization, human nature, beauty, value, and truth are considered in Confucius, Mencius, Xun Zi, Lao Zi, Zhuang Zi, Han Fei Zi, Hui Neng, and Zhu Xi.

Credits: 4

Department: Philosophy
PHI 3340: Messianism in the Frankfurt School: Adorno and Benjamin

The Frankfurt School was pivotal in its creation of “critical theory”—a profound intellectual intervention of the 20th century, primarily lead by German Jewish thinkers. By turning inwards toward theory and turning outwards toward the world, Theodor W. Adorno and Walter Benjamin struggled to envision a utopian way of thinking about a society where the messiah had already arrived.

Credits: 4

Department: Philosophy
PHI 3345: Philosophy, Mysticism, and Medieval Monotheisms

Throughout the Middle Ages, the disciplines of philosophy, mysticism, and theology were dynamic and intertwined within Judaism, Christianity, and Islam. What then are the philosophical forms of the mystical experience in medieval monotheisms? This course explores mysticism in relation to the broader questions of the relationship of supra-rational mystical experience to the philosophy of religion.

Credits: 4

Department: Philosophy
PHI 3360: Responsibility and Judgment: Postwar European Philosophy

Examines philosophers’ efforts to rethink fundamental ethical, legal, and political issues in the wake of total war and totalitarian domination in Europe between 1914 and 1945. Focusing on Arendt’s Eichmann in Jerusalem, questions about resistance, complicity, guilt, and punishment become central. Additional texts are selected from Jaspers, Beauvoir, Sartre, Foucault, Derrida, Levinas, Adorno, and Butler.

Credits: 4

PREREQ: PHI1515 Or PHI2110 Or PHI3212

Department: Philosophy
PHI 3375: Music, Minds, and Bodies

Approaches music (represented in various world music traditions) as a form of experience that raises deeper questions about the metaphysics and evolution of human cognition, emotion, rhythm, sociality, and imagination. Readings draw on the literatures of philosophy of music and philosophy of mind, but also on recent discussions of embodied cognition and meaning in evolutionary psychology and cognitive neuroscience.

Credits: 4

Department: Philosophy
PHI 3470: Foucault, Habermas, Derrida

A study of three recent thinkers who have had a powerful influence on contemporary intellectual life, and on our assessment of the Enlightenment legacy of the modern world.

Credits: 4

Department: Philosophy
PHI 3535: Romanticism and Philosophy

Examines key philosophical ideas of 19th-century German Romanticism and their revolutionary impact on modern cultural history. Romantic reinterpretations of Enlightenment distinctions between thought and feeling, art and philosophy, wholeness and fragmentation, “lower” nature and “higher” spirituality. Readings from early Romantic era German figures, such as Schiller, Schlegel, and Schopenhauer and others, including Coleridge, Hegel, Marx, Nietzsche, Emerson, Dewey, and Cavell.

Credits: 4

PREREQ: PHI1515 Or PHI2110 Or PHI3212

Department: Philosophy
PHI 3592: Phenomenology and Embodiment

Explores the development of phenomenology through selections from the major works of phenomenologists, including Husserl, Heidegger, and Merleau-Ponty. The focus is on how strict adherence to phenomenological description leads one beyond the secluded Cartesian ego to accounts of consciousness that take ego and world to be coeval.

Credits: 4

PREREQ: PHI1515 Or PHI2060 Or PHI2110

Department: Philosophy
PHI 3595: From Phenomenology to Deconstruction

An exploration of central issues in 20th-century European philosophy. The focus is on the challenges to traditional humanism posed by the successes of modern science and technology; the fragmentation of social and political life; and the decentering of the subject in psychoanalysis, linguistics, and literary modernism. Texts include works by Husserl, Heidegger, Arendt, Levinas, and Derrida.

Credits: 4

PREREQ: PHI1515 Or PHI2110 Or PHI3212

Department: Philosophy
PHI 3610: Frankfurt School Critical Theory

Examines central ideas and figures of the Frankfurt School in 20th-century German philosophy. Key subjects, explored through such writers as Adorno, Horkheimer, Marcuse, Benjamin, and Habermas: the concept of “critique” as a bridge between theory and practice; the political functions of philosophy; the dialectical nature of philosophy and art; and earlier influences by such thinkers as Kant, Hegel, and Marx.

Credits: 4

Department: Philosophy
PHI 3650: Philosophy and Literature

A study of how philosophical themes have been developed in recent fiction and an examination of the relationship between philosophy and literary criticism.

Credits: 4

Department: Philosophy
PHI 3716: Philosophy and Film

A critical examination of influential attempts to understand the nature of the cinematic medium. Questions raised include: Is film a fine art? Must a movie “represent reality” if it is to succeed as a movie? Are there certain insights into human experience that are better expressed through film than through other media? Readings include Siegfried Kracauer, André Bazin, and Stanley Cavell.

Credits: 4

PREREQ: (CIN1500 And CIN1510 ) Or PHI1515 Or PHI2110 Or PHI3212

Department: Philosophy
PHI 3725: Theories of Sexuality

An investigation of classical, modern, and contemporary theories of desire and sexuality, with an emphasis on the relationship between familial and other social institutions and on the formation of individual identities. Readings include works by Plato, Aristotle, Hegel, Kierkegaard, Freud, Foucault, and contemporary feminist and queer theorists.

Credits: 4

Department: Philosophy
PHI 3730: Philosophy of Mind

An investigation of philosophical accounts of the nature of mind, including issues like: What does it mean to have a mind? How are mind and body related? Could animals or machines have minds? How are accounts of the mind important for our understanding of freedom, immortality, human nature, and religion?

Credits: 4

Department: Philosophy
PHI 3755: Free Will and Evolved Minds

An investigation of what current evolutionary psychology and cognitive science suggest about a philosophical idea that has long been sacred for modern humanistic culture: that human beings can act freely, without constraint by social or biological forces. Are “free will” and “determinism” fundamentally contradictory ideas, or is a compromise position possible? Includes readings from selected philosophers, cognitive psychologists, and others.

Credits: 4

Department: Philosophy
PHI 3785: Art and Morality

What, if any, moral and political obligations does art have? Should public policy promote some kinds of art and discourage others? This course addresses these and related questions via works from across the arts and philosophical texts.

Credits: 4

Department: Philosophy
PHI 3899: Junior Seminar in Philosophy

A forum for second-semester juniors with two distinct aims: (1) to facilitate the formulation of (a) a senior thesis prospectus, (b) an outline, (c) a bibliography, and (d) a schedule for the composition, during the senior year, of a satisfying 40-page senior thesis; and (2) to introduce the mainstreams of contemporary thought and interpretation in philosophy. Senior thesis topics need not deal with the topic of the junior seminar.

Credits: 4

Department: Philosophy
PHI 4100: Plato Seminar

An intensive study of the major texts, emphasizing their role in defining the work of Western philosophy, with special attention to the interaction of drama with argumentation in the dialogue form.

Credits: 4

PREREQ: PHI1515

Department: Philosophy
PHI 4110: Aristotle

A close study of Aristotle’s most influential texts with discussion of how these texts helped shape the philosophical tradition. Topics may include Aristotle’s ideas about being, soul, cause, nature, ethics, and politics.

Credits: 4

Department: Philosophy
PHI 4120: Heidegger/Arendt Seminar

This seminar stages an encounter between the two thinkers: Martin Heidegger, one of the most powerful and controversial philosophers of the 20th century, and Hannah Arendt, arguably its greatest political thinker. Among the central questions studied: individual authenticity vs. being in the world with others; resoluteness and political death vs. the promise of birth; and the relation between philosophic reflection and political action.

Credits: 4

PREREQ: PHI1515 Or PHI2110 Or PHI3212

Department: Philosophy
PHI 4130: James and Dewey Seminar

An intensive study of the main ideas and texts of William James and John Dewey, two seminal figures of American pragmatist philosophy. Readings and discussions focus on such topics as the centrality of the idea of experience to philosophical analysis; the relations between thought and action; the epistemological status of metaphysical and religious belief; and the reconstructive role of intelligence in art, science, and social life.

Credits: 4

PREREQ: PHI1515 Or PHI2110 Or PHI3212

Department: Philosophy
PHI 4150: Nietzsche Seminar

Writing in the latter half of the 19th century, Friedrich Nietzsche has exercised extraordinary influence on subsequent philosophy. He is a powerful thinker and an intriguing writer. This seminar involves an intensive examination of the full range of his work.

Credits: 4

PREREQ: PHI1515 Or PHI2110 Or PHI3212

Department: Philosophy
PHI 4200: Kant Seminar

Kant is the thinker who has, more than any other, shaped the discussion of intellectual issues over the past two centuries. The semester is devoted to a close study of Kant’s critical philosophy of scientific knowledge, human morality, and judgment in art and the life sciences.

Credits: 4

PREREQ: PHI2110

Department: Philosophy
PHI 4310: Hegel Seminar

A seminar devoted to close readings from several of Hegel’s texts (e.g., Phenomenology of Spirit, Elements of the Philosophy of Right, Science of Logic, Philosophy of History).

Credits: 4

PREREQ: PHI2110

Department: Philosophy
PHI 4325: Ethics Ancient and Modern

An examination of the strengths and weaknesses of ancient and modern ethical systems, insofar as they provide a model of living a human life well. Analysis and evaluation of arguments are emphasized.

Credits: 4

PREREQ: PHI1515 Or PHI2110 Or PHI3212

Department: Philosophy
PHI 4860: Senior Colloquium in Philosophy

Continues the writing workshop format of PHI 4890 (required in the fall semester), and focuses on the development of oral presentation skills. Students present aspects of their ongoing work to each other, culminating in a public presentation to philosophy majors and faculty at the annual Assessment Day in the late spring. Required of philosophy majors in the second semester of their senior projects.

Credits: 1

PREREQ: PHI4890

Department: Philosophy
PHI 4890: Senior Seminar in Philosophy: Senior Thesis Workshop

For first-semester seniors who are developing their senior theses. Designed to give students the invaluable experience of presenting ongoing work to a critical and supportive public of peers.

Credits: 2

Department: Philosophy
Graduate Courses

Art History

https://www.purchase.edu/academics/college-catalog/?program=Art+History+MA

Description:

The MA program in modern and contemporary art, criticism, and theory offers a unique and interdisciplinary program for students who wish to study modern and contemporary art in the context of a critical and visual studies approach.

The program provides an intensive study of contemporary critical and theoretical issues surrounding 20th- and 21st-century artistic practices. During weekly first-year colloquia, students are also introduced to the work of some of the most prominent critics, artists, and historians in the field today. Many courses are supplemented by field trips to museums and art galleries in New York City, just 20 miles south of the Purchase campus. The college’s Neuberger Museum of Art is also a major resource.

Requirements:

Requirements for the graduate major in art history include eight courses (32 credits), proficiency in one foreign language, and an 8-credit thesis. A minimum 3.0 (B) cumulative GPA must be earned at Purchase College.

Required Courses:

  1. ARH 5101/Proseminar: Method and Theory in Art History
  2. ARH 5325/Master’s Colloquium I
  3. ARH 5326/Master’s Colloquium II
  4. ARH 5—/One course dealing with art before 1950
  5. Four elective courses in art history
  6. ARH 5990/Master’s Thesis I: 4 credits
  7. ARH 5991/Master’s Thesis II: 4 credits

Updates to the 2016–18 Purchase College Catalog:

  • Added 11/30/16: MA Museum and Gallery Practice Option; Neuberger Curatorial Fellows Program.

Faculty

  • Associate Professor of Art History
    Director, Neuberger Museum of Art
    • BA, Tufts University
    • MA, George Washington University
    • PhD, Rutgers University
  • Professor of Art History
    • BA, University of California, Santa Barbara
    • MA, PhD, Stanford University
  • Associate Professor of Art+Design
    • BA, Princeton University
    • MA, Chelsea College of Art and Design, London
    • MFA, Rhode Island School of Design
  • Associate Professor of Art History
    • BA, Oberlin College
    • MA, University of Iowa
    • PhD, University of Southern California
  • Assistant Professor of Art History
    • BA, Wellesley College
    • PhD, University of Chicago
  • Alex Gordon Curator of Art of the Americas, Neuberger Museum of Art
    • MA, Universidad Nacional Autonoma de Mexico
    • BA, MA, PhD, University of Montreal
  • Lecturer in Art History
    • BA, MBA, PhD, New York University
  • Professor of Art History
    • BS, Wheelock College
    • MDiv, Harvard University
    • PhD, Emory University
  • Assistant Professor of Art History
    • BA, Harvard University
    • PhD, Graduate Center, City University of New York

Contributing Faculty

  • Alex Gordon Curator of Art of the Americas, Neuberger Museum of Art
    • MA, Universidad Nacional Autonoma de Mexico
    • BA, MA, PhD, University of Montreal
  • Associate Professor of Art+Design
    • BA, Princeton University
    • MA, Chelsea College of Art and Design, London
    • MFA, Rhode Island School of Design

School of Natural and Social Sciences

https://www.purchase.edu/academics/school-of-natural-social-sciences/

Undergraduate Course

Anthropology

https://www.purchase.edu/academics/college-catalog/?program=Anthropology

Description:

Anthropology is the study of human differences and commonalities in a world of global and transnational connections.

Cultural anthropologists study a wide range of contemporary concerns, from identity and community formation to popular culture and political economy. They engage in long-term ethnographic research in rural, urban, and suburban environments around the world and apply critical cultural analysis to their field experiences.

Anthropology at Purchase College takes the study of culture to be an inherently interdisciplinary practice, drawing not only on other social sciences, but also the natural sciences, the humanities, and the arts. Courses in the anthropology program provide the core of a broad liberal arts education for students majoring in anthropology. These courses also introduce students from a range of other disciplines to the vital connections between anthropology and their own fields of study.

Our graduates go on to careers in social work, development, and activism for nonprofit and nongovernmental organizations, curatorial and archival work at museums and historical societies, consumer research and creative communications for marketing and advertising firms, end-user practices for product design firms, and teaching at colleges and universities.

Requirements:

In addition to meeting general degree requirements, all anthropology majors must complete the following requirements (35–39 credits):

  1. The following courses must be completed with a grade of C or higher:
    • ANT 1500/Introduction to Social and Cultural Anthropology: 3 credits
    • ANT 3150/Classics in Anthropological Literature: 4 credits
    • ANT 3560/Fieldwork: Qualitative Methods: 4 credits
    • ANT 4070/Current Anthropological Literature: 4 credits
    • Four anthropology electives: 12–16 credits
  2. SPJ 4990/Senior Project I: 4 credits
  3. SPJ 4991/Senior Project II: 4 credits

Anthropology majors are encouraged to undertake an internship, study-abroad opportunity, or community-action independent study. Students may petition to take credit-bearing internships with anthropology faculty sponsors in lieu of one upper-level elective for the major.

Refer to The Senior Project for additional information.

 

Minor requirements:

The minor in anthropology is designed to provide students with a basic understanding of the discipline and to introduce them to some of the major subfields.

Students interested in the minor should consult with a member of the anthropology faculty, then submit a completed Application for a Program of Minor Study. A student is assigned to the faculty advisor who best meets the student’s academic interest in the minor.

Academic Requirements for the Minor in Anthropology

Five courses, to include:

  1. ANT 1500/Introduction to Social and Cultural Anthropology
  2. Plus four elective courses in anthropology, chosen with the assistance of the anthropology faculty

Faculty

  • Associate Professor of Anthropology
    • BA, Yale University
    • MIA, Columbia University
    • PhD, Stanford University
  • Associate Professor of Media Studies and Anthropology
    • BA, University of Chicago
    • MA, New School for Social Research
    • PhD, University of Texas, Austin
  • Lecturer, Anthropology

    PhD, University of Texas, Austin

  • Assistant Professor of Anthropology
    • BA, Trinity College
    • MA, New York University
    • PhD, Columbia University
  • Associate Professor of Media Studies and Anthropology
    • BA, Hampshire College
    • MA, University of Washington
    • PhD, Columbia University

Contributing Faculty

  • Associate Professor of Media Studies
    • BA, Grinnell College
    • PhD, University of Texas, Austin
  • Assistant Professor of Liberal Studies
    • BS, Hunter College, City University of New York
    • PhD, Graduate School and University Center, City University of New York
    • Chancellor’s Award for Excellence in Adjunct Teaching
  • Associate Professor of Media Studies and Anthropology
    • BA, Hampshire College
    • MA, University of Washington
    • PhD, Columbia University

Courses

ANT 1010: Nigerian/Hausa Language and Culture

Hausa is one of the most important African languages, spoken by more than 50 million people in Nigeria and numerous other countries. This course offers intensive first-year instruction in the Hausa language while introducing students to the customs, beliefs, and concerns of Nigerian Hausa speakers as expressed through various media.

Credits: 4

Department: Anthropology
ANT 1500: Introduction to Social and Cultural Anthropology

The major fields of interest and contributions of social and cultural anthropologists. Accounts of life in different societies are read to illustrate how institutions vary in different cultural settings and to explore what it means to be a member of a culture different from one’s own.

Credits: 3

Department: Anthropology
ANT 2175: Language, Culture and Society

Explores the different roles that language plays in the lives of people, communities, and nations. Topics include language and thought, language and power, poetics and verbal art, bilingualism, African-American English (“Ebonics”), pidgin and Creole languages, Native American language revitalization, “politically correct”; language, and the rise of English as a global language.

Credits: 3

Department: Anthropology
ANT 2250: Film and Anthropology

How useful a tool is film for the study of peoples who come from cultures entirely different from one’s own? Appropriate readings accompany the visual material, in addition to ethnographic accounts of the societies viewed in class and discussions of the problems encountered in filming non-Western peoples.

Credits: 3

Department: Anthropology
ANT 2320: Performing Arts in Cross-Cultural Perspective

An introductory survey of music, theatre, and dance in Western and non-Western cultures, including the relationships between music and religion, dance and weddings, theatre and curing. The course also explores the performing arts as aesthetic phenomena in their own right. Live performances by non-Western performers and optional field trips are planned.

Credits: 3

PREREQ: ANT1500 Or MSA1050 Or NME1050

Department: Anthropology
ANT 2340: Drugs, Bodies, Design

Using texts and films, students analyze how street drugs and legitimated pharmaceuticals become entangled with the economic and aesthetic practices of marginal and mainstream social worlds. Topics include rural Midwestern methamphetamine production as a cottage industry; the ways that steroids and methamphetamine refashion the HIV+ body and identity; and the designs of “performance enhancers” like Adderall that make machines out of bodies.

Credits: 3

Department: Anthropology
ANT 2470: Museum Anthropology

An introduction to the poetics of representation, display, and performance in museums. Students critically analyze museums as spaces of encounter and culture contact; consider the political economy of museums and their links to the education, tourism, and entertainment industries; and participate in and report on curatorial projects at the Neuberger Museum of Art.

Credits: 3

PREREQ: (ANT1500 Or CAN1500 ) Or (MSA1050 Or NME1050 )

Department: Anthropology
ANT 2555: Magic, Witchcraft, and Modernity

Investigates magic and witchcraft in the shadow of technology, industrialization, and capitalism. Readings range from athletes who employ superstition to cope with uncertainty, to more challenging case studies on witchcraft, spirit possession, shamanism, and other forms of magic as healing. Alongside classical anthropological texts, concepts such as fetishism, fantasy, and enchantment are explored in contemporary contexts, including film, art, and literature.

Credits: 3

PREREQ: ANT1500 Or MSA1050

Department: Anthropology
ANT 2610: Introduction to Ethnomusicology

A survey of theoretical orientations and methodologies for the study of musical production, performance, and consumption in particular cultural contexts and within global flows of materials, ideas, cultural forms, and people. Focuses on music as a communication medium and collective poetic process. Students attend and critically engage musical performances and/or engage directly in musical production and performances.

Credits: 3

PREREQ: (ANT1500 Or CAN1500 ) Or (MSA1050 Or NME1050 )

Department: Anthropology
ANT 2730: New Black Ethnographies

Begins with historical examples of ethnographic work on black diasporic cultures and then moves to contemporary anthropological work on black life from around the world. Underscores the history of anthropology in understanding race and racial politics and also draws on an array of topical issues, from mass incarceration to the Black Lives Matter movement.

Credits: 3

Department: Anthropology
ANT 2755: Global Sexualities

Explores and compares the diverse ways in which sexuality and gender are practiced, experienced, and regulated in different communities around the world. Particular attention is paid to how sexual identities and practices have influenced, and been influenced by, global political, economic, and cultural movements, including colonialism, capitalism, feminism, queer activism, and the spread of world religions.

Credits: 3

Department: Anthropology
ANT 2800: Anthropology of Love

Explores love as an anthropological concept, focusing on how love is experienced and shaped in families and other intimate relationships, and how it in turn shapes personhood. Students also explore how the idea of love is used in state agencies to determine social welfare provisioning and how people experience love in philanthropy and charity programs across different cultural contexts.

Credits: 3

Department: Anthropology
ANT 3150: Classics in Anthropological Literature

Theoretical concepts and their use in analyzing empirical data. Students read and critically analyze the work of some of the major thinkers in anthropology, including Benedict, Mead, Malinowski, Radcliffe-Brown, Geertz, Turner, and Lévi-Strauss.

Credits: 4

PREREQ: ANT1500 And (ANT1010 Or ANT2175 Or ANT2235 Or ANT2250 Or ANT2320 Or ANT2330 Or ANT2340 Or ANT2400 Or ANT2410 Or ANT2470 Or ANT2555 Or ANT2610 Or ANT2755 ) And (ANT3070 Or ANT3175 Or ANT3185 Or ANT3190 Or ANT3215 Or ANT3255 Or ANT3275 Or ANT3345 Or ANT3350 Or ANT3380 Or ANT3390 Or ANT3410 Or ANT3415 Or JST3455 Or JST3456 Or JST3457 Or ANT3540 Or ANT3600 Or ANT3610 Or ENV3800 )

Department: Anthropology
ANT 3190: Urban Anthropology

The experiences and problems of city dwellers in the Third World and migrants from Third World countries to Western cities, including New York. Topics include urbanization and family life, adaptation of migrants, ethnicity and class, the culture of poverty, and methods of urban anthropologists.

Credits: 4

PREREQ: ANT1500 Or CAN1500 Or ANT2055

Department: Anthropology
ANT 3215: Anthropology of Religion

Examines both foundational and newer critical approaches to understanding religion from an anthropological perspective. Texts cover a diversity of topics from a variety of cultures, including the construction of religion as an analytical category; religion’s relation to secularism, law, and political ideology; religion and gender; and embodied religious experience. In particular, the relationships between media and religion are explored. Not intended as a general survey of religious traditions.

Credits: 4

PREREQ: ANT1500 Or NME1050 Or MSA1050

Department: Anthropology
ANT 3255: Urban Life in Africa

Africa is home to some of the oldest and fastest-growing cities in the world. Rapid urbanization brings challenges, opportunities, and expectations. Topics include colonial and postcolonial urban planning; corruption and informal economies; violence and security; ethnicity, nationalism, and pan-Africanism; modernism and traditionalism; youth styles and subcultures; charismatic Christianity and Islamic reformism.

Credits: 4

PREREQ: ANT1500

Department: Anthropology
ANT 3345: Media and Performance in Africa

Explores how African performing artists and audiences have responded to the cultural, political, and economic circumstances of the times and places in which they live. Performance media include music, song, dance, film/video, and the spoken word, with a special focus on western and southern Africa. Students draw on anthropological theories to produce, perform, and critique their own versions of African performance texts.

Credits: 4

PREREQ: (ANT1500 Or CAN1500 ) Or (MSA1050 Or NME1050 )

Department: Anthropology
ANT 3350: Myth, Ritual, and Performance

How have myth, ritual, and performance functioned as ways to comprehend, organize, and even generate the world around us? What are the values and constraints of symbolic structures as they shape and influence bodies and environments? Students consider both structural and poststructural approaches to performance as a medium for exploring, but also transgressing, structures of everyday life.

Credits: 4

PREREQ: ANT1500 Or THP2020 Or MSA1050 Or MSA1050

Department: Anthropology
ANT 3380: Avant-Garde Cultures and Everyday Life

Examines the avant-garde from historical and cultural perspectives, as both a lens and object of social critique. How the avant-garde engages with everyday life through various forms of artistic and technological mediation is also explored. Covers such topics as shock and aesthetics, collage, manifestos, found objects, and commodification, and examines various types of experimental music and performance.

Credits: 4

PREREQ: (ANT1500 Or CAN1500 ) Or (MSA1050 Or NME1050 )

Department: Anthropology
ANT 3410: Anthropology of Art and Aesthetics

An exploration of the arts of a variety of cultures, both Western and non-Western. Topics include the relationship of art to other social institutions; the role of the artist in society; the ways that people make aesthetic judgments; and the evolutionary significance of art.

Credits: 4

Department: Anthropology
ANT 3415: Anthropology of Sound and Listening

An anthropological and ethnomusicological approach to sound, listening, and modernity, with emphasis on recent scholarship concerning aural/audio cultures. Topics include avant-garde sound poetry, noise and war, soundscapes and urban noise, silence and deafness, listening practices and mobility in urban space, background music (Muzak), and sound art and installations.

Credits: 4

PREREQ: (ANT2175 Or ANT2320 Or ANT2400 Or ANT2460 Or ANT2555 Or ANT2610 Or ANT2755 Or ANT3150 Or ANT3560 Or ANT3255 Or ANT3190 Or ANT3215 Or ANT3345 Or ANT3350 Or ANT3380 Or ANT3390 Or ANT3540 Or ANT3560 Or ANT3600 Or ANT4070 Or ANT4100 Or ANT4160 Or ANT4860 Or ANT1010 ) And (ANT1500 Or MSA1050 )

Department: Anthropology
ANT 3540: Sensing and Knowing in Anthropology, Psychology, and the Arts

What theories of embodiment, mind, and matter must be adopted to adequately grasp experiences of time, space, color, emotion, and attention? How can people conceptualize forms of experience without purging them of poetic resonance? Students explore this interdisciplinary field in connection with the arts. Includes readings in cognitive science, anthropology, and poetry, plus collaborative art projects, sensory experiments, and excursions.

Credits: 4

PREREQ: ANT1500 Or PSY1530 Or BPS1530 Or MSA1050 Or NME1050

Department: Anthropology
ANT 3560: Fieldwork: Qualitative Methods

The methodological, political, and ethical issues of participant observation. Students read and discuss classical examples of participant-observation research. Each student conducts a participant-observation field research study and presents a preliminary version of the results to the seminar before submitting the written report. Limited to anthropology majors.

Credits: 4

PREREQ: ANT1500 And ANT3150 And ANT3150

Department: Anthropology
ANT 3600: Japan: Aesthetics, Politics, Modernity

Drawing on scholarly texts, novels, films, and music, this course critically examines the aesthetics and politics of modernity in Japan. Topics include fascism and aesthetics in interwar Japan; folk art and Japanese imperialism; criminality and the everyday in postwar Japan; public spectacles (Tokyo Olympics, Osaka Expo); postwar avant-garde movements; consumer culture and department stores.

Credits: 4

PREREQ: ANT1500 Or CAN1500

Department: Anthropology
ANT 4070: Current Anthropological Literature

Students focus on recent theoretical texts in cultural anthropology and are expected to present short oral reports on these texts and to lead class discussion. Limited to anthropology majors in their senior year.

Credits: 4

PREREQ: ANT1500 And ANT3150

Department: Anthropology
ENV 3800: Human Ecology

An interdisciplinary review of the reciprocal relationships between culture and environment in both traditional and complex societies. Past human-induced environmental degradation provides lessons applicable to current problems. Topics include the Green Revolution; cultural change and population trends; traditional vs. industrial food production; and the impact of global change, concepts of sustainability, and the commons.

Credits: 3

Department: Anthropology
HIS 2320: First Peoples to European Contact: New World Archaeology

Focuses on the prehistory of the Americas from the first peoples through 1492, beginning with the Ice Age cultures of the New World and moving forward chronologically. South, Central, and North American cultures are examined, including the Olmec, Woodlands, and Mississippi Valley cultures, pueblo culture, and the Maya, Aztec, and Inca.

Credits: 4

Department: Anthropology
HIS 3585: Archaeology of Empires: The Ancient World

Introduces the largest unit of political organization, the empire, and its early appearances in various regions of the world. The focus is on Akkadia in Mesopotamia, Egypt’s New Kingdom, the Qin Dynasty in China, and the Inca Empire in South America (also known as the Inka Empire). The course reviews theories of sociopolitical organization and development drawn from anthropological archaeology, economics, ecology, and political science.

Credits: 4

Department: Anthropology
MSA 2210: Transhumanist Media

Students focus on how humans are represented and configured across media platforms, how the self is culturally constructed, and how technology continually redefines the meaning of “human.” The class also considers what these figurations indicate about contemporary political subjectivities, gender identities, and species belonging. The work of notable thinkers, including William Gibson, Masamune Shiroh, Stellarc, and Spike Jonze, is studied.

Credits: 3

Department: Anthropology
MSA 4100: Alternative Economies

Students look at forms of production and exchange in various contexts throughout the world that are alternatives to dominant, formal economies. These include trash picking and trash art-making, piracy and counterfeiting, independent farming, and alternative banking. Students consider the notion of value in a variety of ways and trace how production, exchange, circulation, and consumption elaborate new forms of social life.

Credits: 4

PREREQ: (MSA1050 Or NME1050 ) Or ANT1500 Or CAN1500

Department: Anthropology
SOC 2210: Sociology of Gender

A cross-cultural examination of social constructions and expressions of gender. Students define gender, examine ideological tensions, and explore the flexibility of gendered systems.

Credits: 3

Department: Anthropology

Biochemistry

https://www.purchase.edu/academics/college-catalog/?program=Biochemistry

Description:

The interplay between biology, chemistry, and even mathematics has rapidly changed the field of biomedical research over the past 25 years.

Students entering this field need to have an in-depth interdisciplinary background that includes advanced courses and research experience in both chemistry and biology. The curriculum in the biochemistry major provides a solid foundation for students who plan to continue their study in biochemistry, biomedical sciences, or pharmaceutical science.

Rapid advances in the biomedical field in recent years have created a great demand for a work force that is well trained in the interdisciplinary area of biochemistry. Students completing the biochemistry major are also well prepared for employment in the biotechnology, pharmaceutical, and other biomedical areas. The biochemistry major also prepares students for medicine, dentistry, and other allied health professions.

Requirements:

To declare biochemistry as a major, students are required to have passed General Chemistry I and II (or the equivalent courses for transfer students) with grades of C or higher.

Other courses required for the biochemistry major, including support courses but excluding the senior project, must be completed with a grade of C- or higher. In addition to meeting general degree requirements, all biochemistry majors must complete the following requirements (83.5 credits):

Biology Courses (17.5 credits)

Go to Biology Courses for descriptions.

  1. BIO 1550/General Biology I: 4 credits
  2. BIO 1551/General Biology I Lab: 1.5 credits
  3. BIO 3530/Cell Biology: 4 credits*
  4. BIO 4620/Molecular Biology: 4 credits
  5. One advanced elective in biology: 4 credits minimum
     
    *When registering for BIO 3530, biochemistry majors will need to obtain an instructor override exempting them from two prerequisites—BIO 1560 and 2890 (not required for biochemistry majors).

Chemistry Courses (36 credits)

Go to Chemistry Courses for descriptions.

  1. CHE 1550/General Chemistry I: 4 credits
  2. CHE 1551/General Chemistry I Lab: 1 credit
  3. CHE 1560/General Chemistry II: 4 credits
  4. CHE 1561/General Chemistry II Lab: 1 credit
  5. CHE 3150/Chemical Instrumentation and Analytical Methods: 5 credits
  6. CHE 3310/Organic Chemistry I: 4 credits
  7. CHE 3311/Organic Chemistry I Lab: 1 credit
  8. CHE 3320/Organic Chemistry II: 4 credits
  9. CHE 3321/Organic Chemistry II Lab: 1 credit
  10. CHE 3510/Physical Chemistry I: 5 credits
  11. CHE 4610/Biochemistry: 4 credits
  12. CHE 4611/Biochemistry Lab: 2 credits

Support Courses (18 credits)

Go to Mathematics and Physics Courses for descriptions.

  1. MAT 1500/Calculus I: 4 credits
  2. MAT 1510/Calculus II: 4 credits
  3. PHY 1510/Introductory Physics I: 4 credits
  4. PHY 1511/Introductory Physics I Lab: 1 credit
  5. PHY 1520/Introductory Physics II: 4 credits
  6. PHY 1521/Introductory Physics II Lab: 1 credit

Biochemistry Courses (12 credits)

  1. BCM 3880/Biochemistry Junior Seminar: 2 credits
  2. BCM 4880/Biochemistry Senior Seminar I: 1 credit
  3. BCM 4890/Biochemistry Senior Seminar II: 1 credit
  4. SPJ 4990/Senior Project I: 4 credits
  5. SPJ 4991/Senior Project II: 4 credits

Faculty

  • Assistant Professor of Practice in Chemistry
    • Vordiplom, MS, PhD, Georg August University (Germany)
  • Distinguished Service Professor of Chemistry
    • BS, MS, University of Scranton
    • PhD, Pennsylvania State University

Contributing Faculty

  • Associate Professor of Biology
    • BS, PhD, University of Guelph (Canada)
  • Distinguished Professor of Biology
    • BS, Queens College, City University of New York
    • MS, PhD, Columbia University
    • Chancellor’s Award for Excellence in Teaching

Courses

BCM 3880: Biochemistry Junior Seminar

Students complete a senior research proposal, which is submitted to the biochemistry faculty for review and approval. Students also attend research seminars presented by faculty and guest speakers. Required for juniors majoring in biochemistry.

Credits: 2

Department: Biochemistry
BCM 4880: Biochemistry Senior Seminar I

Faculty, visiting scientists, and seniors in biochemistry present results of current research projects. Students are graded on the basis of oral presentations of senior project results made to the faculty and their peers.

Credits: 1

COREQ: SPJ4990

Department: Biochemistry
BCM 4890: Biochemistry Senior Seminar II

Faculty, visiting scientists, and seniors in biochemistry present results of current research projects. Students are graded on the basis of oral presentations of senior project results made to the faculty and their peers.

Credits: 1

COREQ: SPJ4991

Department: Biochemistry
BIO 1550: General Biology I

Introduction to contemporary biology, covering cell structure and function, genetics, development, and molecular biology. This course is for science majors and premedical students; students with limited high school science and mathematics can satisfy college distribution requirements with BIO 1510 or 1520.

Credits: 4

Department: Biochemistry
BIO 1551: General Biology I Lab

Lab exercises on cell organization, cell division, genetics, enzyme kinetics, photosynthesis, and development, and the use of light microscopes, spectrophotometer, and chromatography. Required for premedical students, biology majors, biochemistry majors, and environmental studies majors.

Credits: 1.5

PREREQ: BIO1550 Or BBI1550

Department: Biochemistry
BIO 3530: Cell Biology

Cellular organization and function, and molecular genetics, with emphasis on eukaryotic cells. Topics include cellular genomes; replication and maintenance of genomic DNA; RNA and protein synthesis, processing, and regulation; macromolecular structure and processes of organelles; vesicular transport; cytoskeleton; the cell surface; cell signaling; and cell cycle. Students prepare a paper based on current literature in the field. Required for all biology majors immediately following BIO 1550 and 1560.

Credits: 4

PREREQ: (BIO1550 Or BBI1550 ) And (BIO1560 Or BBI1560 ) And BIO2890 And (CHE1550 Or BCH1560 )

Department: Biochemistry
BIO 4620: Molecular Biology

Structure, function, and regulation of genes at the molecular level. Topics include transcription; RNA processing; involvement of RNA in protein synthesis; DNA replication, mutation, and repair; gene cloning; DNA sequencing; PCR ampliflication; and applications of recombinant DNA technology (including gene therapy). Students write a short research grant proposal on a topic of their choice, incorporating molecular approaches learned in class.

Credits: 4

PREREQ: BIO3530

Department: Biochemistry
CHE 1550: General Chemistry I

The principles and applications of chemistry. Topics include the development of an atomic/molecular model, stoichiometry, interaction of light with matter, and the physical behavior of solids, liquids, and gases.

Credits: 4

COREQ: CHE1551

PREREQ: MAT1150 Or BMA1150 Or MAT1500

Department: Biochemistry
CHE 1551: General Chemistry I Lab

Emphasizes basic techniques in synthetic and analytical chemistry.

Credits: 1

COREQ: CHE1550

Department: Biochemistry
CHE 1560: General Chemistry II

A continuation of CHE 1550. Topics include chemical kinetics and equilibrium, electrochemistry, thermodynamics, acids and bases, and the chemistry of representative elements..

Credits: 4

COREQ: CHE1561

PREREQ: CHE1550 Or BCH1550

Department: Biochemistry
CHE 1561: General Chemistry II Lab

Emphasizes basic techniques in synthetic and analytical chemistry.

Credits: 1

COREQ: CHE1560

Department: Biochemistry
CHE 3150: Chemical Instrumentation and Analytical Methods

The lecture covers general analytical chemistry, including gravimetric and volumetric analysis, solution chemistry, and an introduction to the theory and use of modern analytical instruments. The required lab acquaints students with general wet chemistry techniques and with instrumental methods of qualitative and quantitative analysis.

Credits: 5

PREREQ: CHE1560 Or BCH1560

Department: Biochemistry
CHE 3310: Organic Chemistry I

An introduction to the chemistry of carbon compounds. The structural theory is used to develop an understanding of the physical properties and chemical reactivity of organic compounds. Compounds are grouped according to structure, using a functional group approach. Reactions are organized according to similarities in mechanism, with an emphasis on electron flow. Infrared and NMR spectroscopy are also introduced.

Credits: 4

PREREQ: (CHE1560 Or BCH1560 ) And CHE3311 Or BCH3311

Department: Biochemistry
CHE 3311: Organic Chemistry I Lab

Lab experience in organic chemistry, with an emphasis on microscale techniques.

Credits: 1

PREREQ: CHE3310 Or CHE3015

Department: Biochemistry
CHE 3320: Organic Chemistry II

The concepts learned in CHE 3310 are elaborated on and more complex organic reactions are studied, including the mechanism and the use in multistep synthesis problems. More compounds, such as aromatics, carbonyl- and carboxyl-compounds, and their reactions are discussed, and the structure, reactivity, and reactions of carbohydrates, proteins, and lipids are introduced.

Credits: 4

COREQ: CHE3321

PREREQ: CHE3310

Department: Biochemistry
CHE 3321: Organic Chemistry II Lab

Continued study of the spectroscopic methods for structure determination of unknown compounds. Synthetic methods for the preparation of interesting compounds are emphasized.

Credits: 1

COREQ: CHE3320

Department: Biochemistry
CHE 3510: Physical Chemistry I

A lecture course introducing the principles of chemical thermodynamics and chemical dynamics. Applications in chemical equilibria, phase equilibria, properties of solutions, chemical kinetics, and transport properties are included.

Credits: 5

PREREQ: CHE3320 And (PHY1520 Or BPH1520 ) And (MAT1510 Or BMA1510 )

Department: Biochemistry
CHE 4610: Biochemistry

An introduction to the structure, function, and metabolism of the four classes of biomolecules: proteins, carbohydrates, lipids, and nucleic acids. Topics include molecular biology; the structure, regulation, and kinetics of enzymes; and the structure and function of vitamins.

Credits: 4

PREREQ: CHE3320 Or BCH3320 Or CHE3350 Or CHE3015

Department: Biochemistry
CHE 4611: Biochemistry Lab

Practical hands-on experimental techniques for isolation and analysis of the four classes of biomolecules: proteins, carbohydrates, lipids, and nucleic acids. Required for biochemistry majors.

Credits: 2

PREREQ: CHE4610

Department: Biochemistry

Biology

https://www.purchase.edu/academics/college-catalog/?program=Biology

Description:

Biology is an area of explosive scientific, intellectual, and technological advances.

Attention is focusing on the origin and evolution of living organisms (even their possible existence on other planets), the molecular mechanics of heredity, the processes of disease and immunity, the ecological balance among life forms, the effect of synthetic chemicals on molecular functions of the cell, the biological basis of behavior, and the extraordinary technologies for the creation of useful new characteristics in microorganisms, plants, and animals.

The biology program at Purchase College embodies the excitement of the dramatic advances in this rapidly expanding field. Students actively participate in the life sciences, studying and pursuing research with faculty who are active in their fields.

The biology program at Purchase College may be pursued from a variety of perspectives, and our majors are well prepared for graduate school, medical school, teaching, and careers with high-tech industries. Biology majors should be aware that, of all the natural sciences, biology is the least able to stand alone as a discipline; mathematics, physics, and especially chemistry are important for a meaningful appreciation of life processes. In consultation with a faculty advisor, the student will expand upon this base by choosing advanced subjects related to particular objectives. Advanced courses are offered in seven concentrations.

Biology courses are also challenging, rewarding, and immediately relevant studies for students in other disciplines. Students who major in other subjects and have a strong secondary interest in biology may consider a biology minor.

Requirements:

Bachelor of Arts (BA) | Bachelor of Science (BS)

 BA Academic Requirements

There are two categories of requirements for all biology majors: biology courses and basic science support courses. General Biology I and II, Cell Biology, and the five upper-level electives in the “biology courses” category must be passed with a grade of C- or higher. Students must attain at least a 2.0 (C) GPA in courses used to satisfy the requirements for the major, including the “biology courses” category (excluding the senior project) and the “basic science support courses” category. Students majoring in biology may choose a concentration, but one is not required.

In addition to meeting general degree requirements, all BA majors in biology must complete the following courses:

 Biology Courses

  1. BIO 1550/General Biology I
  2. BIO 1551/General Biology I Lab
  3. BIO 1560/General Biology II
  4. BIO 1561/General Biology II Lab
  5. BIO 1880/Biology Freshman Seminar
  6. BIO 2890/Biology Program Seminar
  7. BIO 3530/Cell Biology (successful completion of BIO 3530 is a prerequisite for all upper-level biology electives, except BIO 3850)
  8. Five upper-level biology electives, as follows; these must include at least one at the 4000 level and at least four lab studies, taken either in conjunction with lecture courses or as separately registered lab courses:
    1. One of the following courses in biological mechanisms:
      BIO 3160/Genetics
      BIO 3170/Developmental Biology
      BIO 3250/Animal Physiology
      BIO 4620/Molecular Biology
    2. One of the following courses in biodiversity and ecology:
      BIO 3360/Microbiology
      BIO 3430/Vertebrate Zoology
      ENV 3080 / Wildlife Ecology
      ENV 3120/General Ecology
      ENV 3220/Restoration Ecology
      ENV 3250 and 3251/Ecology of Urban Environments and Lab
      ENV 3805/Conservation Biology
    3. Three additional upper-level biology electives
  9. BIO 3890/Biology Junior Seminar
  10. SPJ 4990/Senior Project I
  11. SPJ 4991/Senior Project II
    If a student elects to conduct a senior project in an area other than the life sciences, two additional biology courses are required.

 Basic Science Support Courses

  1. CHE 1550 and 1551/General Chemistry I and Lab
  2. CHE 1560 and 1561/General Chemistry II and Lab
  3. Organic chemistry options (choose option a or b):
    1. The following four courses:
      CHE 3310 and 3311/Organic Chemistry I and Lab
      CHE 3320 and 3321/Organic Chemistry II and Lab
    2. The following three courses:
      CHE 3015/Fundamentals of Organic Chemistry
      CHE 3311/Organic Chemistry I Lab
      CHE 4610/Biochemistry
      Note: Some (but not all) medical a